In this film, 'Her' refers to both Paris, the character of Juliette Janson and the actress playing her, Marina Vlady. The film is a kind of dramatised documentary, illustrating and exaggerating the emotionless lives of characters in the new Paris of the 60s, where commercialism mocks families getting by on small incomes, where prostitution is a moneyspinning option, and where people are coldly resigned and immune to the human nightmares of Vietnam, and impending Atomic war.
The least successful Godard film I've seen, and I've seen more than a dozen others, 11 March 2002 Author: zetes from Saint Paul, MN Although it was a critical success when it was released, and it still has strong supporters today, I personally found Two or Three Things I Know About Her a very weak film. It represents a day in the life of a prostitute/housewife, though that itself is difficult to tell. The film is rather amorphous. Maybe that's a word that many would use to describe the whole of Godard's films. But almost all of his other films, with the possible exception of Alphaville and Contempt (both of which I need to see again, having not seen them for a few years), have a little more internal structure and, what is especially missing from Two or Three Things, a pace. Other films of his are also more biting in their satire or drama, depending on what Godard is going for. Two or Three Things is dead in the water. Think of the giddy quickness and insanity of Pierrot le fou or Le Week-End, or the frightening images of Le petit soldat or Vivre sa vie. This film is not worthless, however. I've never seen a Godard film that I would call bad. And it is, like all of his films (I also haven't seen one that any fan should miss), important in his development as a director. You can see Le Week-End about to burst out of the screen. Two or Three Things contains a couple of remarkable scenes, including the coffee scene. Godard narrates in a whisper, philosophizing over his own role in the universe, as creme swirls in a cup of coffee and clusters of bubbles rotate and pop (the camera is so close that you can't see anything but the coffee in the cup). The cinematography in general, by Godard's frequent collaborator Raoul Coutard, is quite good. I especially like the shots of construction equipment, cranes and such. They're kind of like the opposite of Yasujiro Ozu's pillow shots. 6/10.


It was past 8pm when we stepped inside the restaurant, and found ourselves to be the only customers of the evening. Another couple arrived a little later, but didn't seem to be having dinner and left shortly. Wow! The last time I had the restaurant all to myself was during my 6-month move to Singapore nearly a decade ago, when so many decent and upscale Western restaurants seemed to be devoid of customers.
Flash smoked salmon with nuta sauce (瞬間薫製サーモン) - this is apparently a signature dish here, and I could see why. We could smell the smoke coming through the pores, and removing the cover instantly filled the air with intense cherry wood smoke.
Once the smoke has cleared, we find two slices of torched salmon wrapped around green scallions, sitting on some nuta (ぬた) sauce made with white miso (白味噌). Some finely shredded strands of radish (大根) and deep-fried potato (ジャガイモ) are placed on top. Both the smoking and torching imparted intense smoky flavors to the salmon, and the fact that it was only lightly cooked meant it retained a nice, succulent texture. A very good start to the meal.
Cured mackerel and seared squid vinaigrette sauce (〆鯖と炙り烏賊 白酢かけ) - the top layer of the dish consisted of a cooked prawn (車海老) and sliced eggplant (茄子) sitting on a very thin wafer of lotus root (蓮根). Fortunately the prawn was nicely done and not overcooked.
Below the lotus root sat pieces each of mackerel (鯖) that had been cured in kelp (昆布〆), along with slices of squid that had been finely scored before being torched, all sitting on this sauce (白酢) made from soy pulp, sesame and vinegar. I could have sworn that our waiter actually told me that the mackerel was bonito (鰹)… In any case I thought the mackerel and squid were pretty yummy, especially that smoky flavor again on the squid.
Scallop shijyo ~mushroom sawani style soup~ (帆立真丈 茸沢煮椀) - the giant ball in the middle was made h both scallop paste as well as diced scallops encased inside. This was actually pretty tasty. The bowl was filled with lots of different mushrooms like shiitake (椎茸), maitake (舞茸) and enoki (榎茸), and garnished with capsicum slices and radish sprouts.
Today's sashimi (本日の造り) - the olive flounder (平目) slices were pretty thick and chewy, which was a refreshing change from the usual. The splendid alfonsino (金目鯛) pieces had the skin ever so lightly grilled to impart that smoky flavor. Nice with the yuzu soy sauce (柚子醤油). Interestingly, in addition to the usual shredded radish there was also some very finely shredded pumpkin, which actually wasn't as sweet as I would have expected.
Chef's choice shinogi (凌ぎ) - a single piece of torched rosy sea bass (赤鯥) sat on top of the rice, with salmon roe (イクラ). Rosy sea bass definitely needs to be torched to bring out all the flavors. Nice.
Deep fried tilefish and grilled pike mackerel with chestnut sauce (甘鯛揚げ浸し 秋刀魚塩焼き栗ソース) - the waiter called it the "chestnut combination", since chestnut was served in several ways here. There was also ground chestnut powder as well as deep-fried chestnut chips.
The tilefish was deep-fried and served with shredded burdock (牛蒡) on top, onion and chestnut halves. Decorated with a leaf from the chestnut tree.
The pacific saury (秋刀魚) was rolled up tightly and grilled, and served on a bed of chestnut purée. Garnished with pickled ginger shoot and ginkgo (銀杏) nuts.
This "chestnut" was a very interesting creation, and earned brownie points for the chef in my book. While the center was indeed a piece of chestnut, the burr which appears to have cracked open was made with white fish gelatin and green tea somen (茶素麺). How creative was that?!
Duck tempura with simmered Japanese radish negi thick sauce hot pot (鴨天婦羅と大根 小鍋仕立て 葱餡かけ) - this was the only dish that failed this evening. First of all, why bother to batter and deep-fry duck? Leaving that aside, this came in a pot over a flame, and the flame was just too damn strong and ended up overcooking the duck. I asked the waiter if he could help me put the flame out, and his initial response was to suggest that I wait for the flame to die down by itself. When I complained and insisted, the staff took it away and returned it to me without the flame.
Unfortunately, the duck had been way overcooked by now, and was dry and tough inside the batter which had turned mushy thanks to the scallion sauce that was poured into the bowl. The one saving grace was the radish, which had been cut in one long ribbon and rolled up in the middle of the pot. The eggplant cubes and cherry tomatoes didn't seem to add to the dish.
Japanese oyster rice (牡蠣御飯 みそ汁) - this was pretty decent, as the oysters were tasty and the rice pretty fragrant yet subtle.
Chef's dessert (本日の甘味) - slices of persimmon (柿), a monaka (最中) with red bean paste, and some marscapone with coffee ice cream.
We decided not to open the bottle of Champagne my friends brought, since I wasn't in the mood to drink a lot. So we ended up order a small bottle of sake, and as it turned out the restaurant chose not to charge us for it.


With a stay at Hotel El Faro Del 18 in Cali, you'll be within a 5-minute drive of Caliwood Cinema Museum and La Tertulia Modern Art Museum.
Located in Cartagena (Cartagena Walled City), Casa Arinda is within a 15-minute walk of San Felipe de Barajas Castle and Puerta del Reloj. The front desk is staffed during limited hours.
With a stay at Casa Gabriel in Villa de Leyva, you'll be within a 5-minute walk of Casa Museo Luis Alberto Acuna and Carmen Museum.


I have been wanting to check out the new Pig and Duke downtown Calgary location for a while and now, due to a series of fortunate events, I will be trying it out courtesy of Alberta Beer Festivals!
I recently attended Social Media Breakfast Calgary, where the topic was Beer and Branding, which was right up my alley! It was very interesting and had a great panel of speakers from the industry including Toolshed Brewing, Village Brewery, Big Rock Brewery, Wildrose Brewery and Molson. If anyone is into social media and hasn't been to one of these events, I would recommend you go to the next one that interests you, they are held monthly at various locations, this month was Crowfoot Wine and Spirits, what a neat event space.
At the end of the panel, they asked a series trivia type of questions about what we had just heard in order to win pairs of tickets to Calgary Beer Fest. I was "nerding out" pretty hard at this event; the marketing strategy, the beer, breakfast, just totally in my element, so I was listening intently like a kindergartener at story time. The upside of that though, was that I knew all the answers and eventually got up there first to claim some coveted Beer Fest tickets!
Fast forward to a couple weeks later, I see a tweet from @ABBEERFESTIVALS for a contest to enter to win by showing them my tickets. I enlisted my cat, Saffron, to be my photo model and grabbed some bribes in the form of chicken treats to make her my muse. One 'high five" later (ok, two or three, she doesn't have great paw aim) and we have ourselves some gift certificates to check out the brand new Pig and Duke location!
I will let you know how it is; judging by their other location…I'm pretty excited!


text:
Q: how to test open graph on localhost I've done a lot of research and haven't found a definitive answer to this. Is there anyway to test the open graph on localhost? I don't haven any issues using the graph api on locahost.
I've changed my website url in the app settings and have even tried setting up a domain in my hosts file but the debugger linter for open graph tries to use the actual domain instead of my localhost and when using locahost directly the linter completely fails connecting.
Does anybody have any workarounds for this?

A: Using a local proxy is the right solution. ngrok didn't work for me neither.
A similar tool that did work with facebook debugger is localtunnel ✅
npm install -g localtunnel
lt --port 8000
# or using npx without installing localtunnel
npx lt --port 8000

Generates a url that looks something like https://<random_hash>.localtunnel.me/. Using this url in facebook open graph debugger worked for me as of October 18th 2017. I only had to hit Fetch new scrape information button.
Cool thing about localtunnel is that you can easily host your own localtunnel server with github.com/localtunnel/server so if it ever stops working with localtunnel.me, you can run your own somewhere in the cloud ⛅

A: As a bit simpler approach you can use a browser extension like https://socialsharepreview.com/browser-extensions - which will show your Social Cards directly in the Browser (which of course might fail, if you wrongly didn't set them serverside :))

A: You can use ngrok to create a random public subdomain that routes to your local webserver very easily, even through NAT or firewalls.
Just download ngrok and run ./ngrok http 8080 (assuming 8080 is your local webserver http port).
This will create a random subdomain like http://38a84a97.ngrok.io/ that routes to your local webserver and that you can use with Facebook to test your open graph tags.

A: Its very simple to test Open Graph in any local environment using Chrome or Firefox using plugins. I have used one to quickly show in chrome how the Open Graph looks to the viewer to test results. Here is a quote of what it does.

This extension shows how people will see your site in the most popular
social networks This extension is for professionals who creates a
media content.
To check meta-information of your site or article just open it in a
Chrome and click extension's icon. Also you could add an URL manually.

Here is a direct link to the plugin (Chrome)
Firefox add-on

A: To test open graph (and Twitter cards) I also had to expose localhost (Docker) to Facebook and Twitter.  I used Serveo
It works very well for this, no need to install anything as it works with ssh port forwarding.
$ ssh -R 80:localhost:3000 serveo.net

Then navigate to the url given, and there you go.

A: You have to setup a public domain which points to your public ip address.
Use dynes.org or a similar service and setup your router to forward your port 80.

A: There are several tools you can use for serving something up over your localhost, each with varying degrees of functionality.
I prefer (obviously) http://forwardhq.com
Other great options here: http://devblog.avdi.org/2012/04/27/http-forwarding-services-for-local-facebook-development/

A: If anyone is looking to preview the :og tags on while developing on subdomains (using lvh.me) in localhost. You can use https://serveo.net.
Simply use following command to forward your local server requests. No installation required.
ssh -R yoursubdomain.serveo.net:80:yoursubdomain.lvh.me:3000 serveo.net

you can put your desired port in place of 3000.
Reference: https://blog.aarvy.me/2019/09/20/expose-local-apps-having-subdomains-to-web/

redpajama_set_name: RedPajamaStackExchange


text:
, nicknamed Nomoken,  is a Japanese professional basketball player who plays for the Gunma Crane Thunders of the B.League in Japan. The small forward also represented the Japan national basketball team in 2014 and 2016. He tested positive for the coronavirus on November 24, 2020.

FIBA Events Stats

|-
| style="text-align:left;"| 2009-10
| style="text-align:left;"| Japan U18
| 6 ||  ||33.30  || .313 ||.385  || .588|| 3.3 || 1.2|| 1.2 || 0.7|| 11.2
|-
|}

Non-FIBA Events Stats

|-
| style="text-align:left;"| 2013
| style="text-align:left;"| Universiade
| 8 ||  ||20.20  || .447 ||.500  || .650|| 2.9 ||1.1 || 0.6 || 0.0|| 7.4
|-
| style="text-align:left;"| 2015
| style="text-align:left;"| Universiade
| 8 ||  || 19.28 || .367 || .091 || .684|| 3.0 ||1.0  ||0.6 || 0.4 || 6.2
|-
|}

Career statistics

Regular season

|-
| align="left" | 2014-15
| align="left" | Toshiba
| 7 || 0 || 7.9 || 21.1 || 25.0 || 75.0 || 1.3 || 0.1 || 0.4 || 1.0 ||  2.3
|-
| align="left"  style="background-color:#afe6ba; border: 1px solid gray" | 2015-16†
| align="left" | Toshiba
| 39 || 8 || 10.1 || 38.5 || 14.3 || 76.2 || 1.2|| 0.5 || 0.4|| 1.0|| 2.4
|-
| align="left" | 2016-17
| align="left" | Kawasaki
| 54 ||  || 9.5 ||52.8  || 0.0 ||58.5 ||1.6 || 0.5 || 0.2 || 0.1 || 3.0
|-
| align="left" | 2017-18
| align="left" | Kawasaki
|56||  || 8.0 ||37.0 || 0.0||55.3 ||1.2  || 0.8 || 0.2 || 0.1 || 1.8
|-
| align="left" | 2018-19
| align="left" | Akita
| 60 ||8  || 10.5 ||45.5 || 0.0 ||56.1 ||1.9 || 0.6 || 0.4   || 0.1 || 2.8
|-
| align="left" | 2019-20
| align="left" | Akita
| 41 ||9  || 13.2 ||40.1 || 14.3 ||65.2 ||2.0 || 1.1 || 0.7   || 0.1 ||  3.4
|-
| align="left" | 2020-21
| align="left" | Akita
| 58 ||4  || 14.6 ||.446 || .263 ||.606 ||2.8 || 1.2 || 0.4  || 0.1 ||  3.5
|-
|}

Playoffs

|-
|style="text-align:left;"|2014-15
|style="text-align:left;"|Toshiba
| 2 ||   || 9.0 || .333 || .500 || .000 || 0.5 || 0.0|| 0.0 || 0.0 || 3.0
|-
|style="text-align:left;"|2015-16
|style="text-align:left;"|Toshiba
| 3 ||   || 3.3 || .000 || .000 || .500 || 0.0 || 0.0|| 0.0 || 0.0 || 0.3
|-
|style="text-align:left;"|2016-17
|style="text-align:left;"|Kawasaki
| 5 || 0 || 7:34 || .500 || .000 || .000 || 1.4 || 0.2|| 0 || 0 || 2.8
|-
|style="text-align:left;"|2017-18
|style="text-align:left;"|Kawasaki
| 2 || 0 || 1:17 || .000 || .000 || .000 || 0.5 || 0|| 0 || 0 || 0
|-

Early cup games

|-
|style="text-align:left;"|2017
|style="text-align:left;"|Kawasaki
| 2 || 2 || 28:00 || .563 || .000 || .500 || 5.5 || 2.5 || 1.0 || 0.5 || 9.5
|-
|style="text-align:left;"|2018
|style="text-align:left;"|Akita
|2 || 0 || 24:40 || .231 || .000 || .750 || 3.5 || 2.0 || 1.0 || 0.0 || 4.5
|-
|style="text-align:left;"|2019
|style="text-align:left;"|Akita
|2 || 0 || 25:04 || .375 || .000 || .000 || 1.0 || 4.0 || 2.0 || 0.0 || 6.0
|-

Preseason games

|-
| align="left" |2018
| align="left" | Akita
| 2 || 0 || 9.3 || .000 ||.000  || .500||2.5 || 1.0|| 0.5|| 0.0 ||  0.5
|-
| align="left" |2019
| align="left" | Akita
| 3 || 1 || 15.1 || .500 ||.000  || .833||2.3 || 1.7|| 1.7|| 0.0 ||  5.67
|-

Source: Changwon1Changwon2
Source: UtsunomiyaToyamaSendai

William Jones Cup

|-
| align="left" |  2014
| align="left" | Japan
|5|| ||5|| .222|| .000|| .600|| 0.8||0.2 || 0.4|| 0.0|| 1.4
|-
| align="left" |  2016
| align="left" | Japan
|7|| ||14|| .300|| 1.000|| .750|| 2.7||0.4 || 0.0|| 0.0|| 2.3
|-
| align="left" |  2017
| align="left" | Japan
|7|| ||20|| .450|| .000|| .680|| 4.6||1.0 || 0.3|| 0.3|| 7.6
|-
|- class="sortbottom"
! style="text-align:center;" colspan=2| Career
! 19 ||  || 14 || .377 || .250 || .677 || 2.9 || 0.6|| 0.2 ||0.1 || 4.0
|-

Trivia

His favorite quote is "Nanakorobi Yaoki", meaning "seven times down, eight times up like a daruma doll".
He ate 1,300 grams of rice a day at Kawasaki.

References

External links
Stats
Nomoto with Kawasaki

1992 births
Living people
Akita Northern Happinets players
Japanese men's basketball players
Kawasaki Brave Thunders players
Sportspeople from Hyōgo Prefecture
Sportspeople from Amagasaki
Small forwards

redpajama_set_name: RedPajamaWikipedia


text:
Talking Heads Article
Google and Twitter are right. Workers should stay home
May 18, 2020 - 4:22 min read
The more I read and hear about what offices will be like as they reopen, the more dystopian it sounds: empty desks, no meetings, everyone keeping their distance from one another. I miss the thrum and hum of the workplace, but the need to maintain social distancing means reopening won't bring that back.
An employee works inside the Twitter Inc. headquarters in San Francisco, California, U.S., on Friday, Sept. 19, 2014. Photographer: David Paul Morris/Bloomberg
And for all that offices will be quieter and emptier, they may not be much safer. Erin Bromage, a biology professor at UMass Dartmouth, compiled a useful list of several known COVID-19 super-spreading events that highlights the danger of being cooped up inside with a sick person. If a 90-minute restaurant meal, 120-minute choir practice or 180-minute birthday party is enough for one person to infect a roomful, how much more risk is in a 540-minute workday, even with precautions?
Rather than bring employees back anytime soon, organisations should settle into remote work for the long haul — as some are beginning to do. Google and Facebook have gone this route, telling employees to work from home for the rest of 2020. Microsoft is green-lighting WFH (work-from-home) through October. Twitter has said employees can continue to log in from home indefinitely.
"The fewer people who return to work, the safer the workplace will be for those who do."
– Sarah Green Carmichael
It's a strategy that could be broadly popular. In an informal poll Bloomberg Opinion conducted across our social media channels, 52 per cent to 63 per cent of respondents said they'd rather keep working from home than return to the office. That mirrors Gallup's findings: About half of people surveyed want to continue working remotely.
And why not? Allowing remote work is cheaper than arranging for office upgrades. By now, organisations and employees have already invested in essential remote-work gear: computer monitors, ergonomic chairs, sweatpants.
That's just the hardware. Companies have invested in virtual collaboration apps like Slack, Zoom and their rivals. Teams that have grown accustomed to them will probably continue to use them.
Supporting work from home long-term requires a shift in the way many companies think, explains Jennifer Kaufmann-Buhler, an assistant professor at Purdue University who studies office design. Companies have long encouraged employees to see the office as a kind of home, stocking kitchens with snacks and providing seating that feels, if not exactly homey, then rather like a nice hotel lobby. Now, homes have become workplaces, even if it's just a presentable corner of home. Companies have always been happy for people to take work home, but when there are no alternatives it means rethinking some basics — such as internet access, for starters.
Many companies have invested in Zoom and similar programme that facilitate employees working from home. (Photo: Bloomberg)
Since the start of the shutdowns, many cities have seen slower internet speeds. Upgrading is tricky, however, explains Bhaskar Chakravorti, dean of global business at the Fletcher School at Tufts University and director of its Digital Planet initiative, because most connection problems occur between the curb and your house. Those problems are expensive to fix, and internet service providers have little incentive to fix them because there is so little competition at the local level. But if more people work from home, high-speed internet access will become a greater necessity, like reliable electricity or clean water, and public pressure might force some level of minimum access.
In the meantime, companies with employees working from home will need to find solutions that use less bandwidth, whether it's for communication or data sharing or something else.
I know that not everyone can work from home indefinitely. It's much easier for those in what's broadly known as the knowledge transfer business — a category that includes technologists, journalists, researchers, consultants and lawyers. Still, that's a lot of people. In one survey, as many as a third of workers who once commuted say they're now working from home. Compare that with only about three per cent of American workers who previously worked from home.
Those of us who can comfortably work from home should keep doing so. And that's where managers should put their energies — not in reopening office buildings for people who don't need to be there.
They should consider it the first step toward keeping employees safe. As Joseph Allen, director of the Healthy Buildings Program at the Harvard T.H. Chan School of Public Health, emphasised in a recent interview, the only employees who should be asked to return to the building are those who need to be there to keep the business functional.
Many companies are instead leaping ahead to solutions further downstream — improving ventilation and air filtration, staggering employees' schedules and stocking up on personal protective equipment, including masks. Those things should be used only when working from home isn't an option.
By working from home as long as possible, we do more to fight COVID-19. The fewer people who return to work, the safer the workplace will be for those who do.
FacebookTwitterwork-from-homeZoom
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redpajama_set_name: RedPajamaCommonCrawl


Making sure your pets don't escape can be a hard task, but not anymore with this wooden deck gate. Durable, metal bars provide maximum security. The wooden …... To make my gate I used two pallets and a few 2 x 4's that we had left over from tearing down a. Great idea to build a gate out of the pallets! Great idea to build a gate out of the pallets! How to build a garden gate out of a pallet.
This retractable baby gate is a smooth way to protect your baby from experimenting with with dangerous staircases. It will let you have free mind, not worrying about the baby's time. It will let you have free mind, not worrying about the baby's time.
Baby Gates Diy Baby Gate Wood Baby Gate Diy Gate Baby Gate For Stairs Diy Pallet Furniture Diy Furniture Projects Home Projects Diy Pallet Projects Forward Here is a inspiration for you, try this DIY wood pallet baby gate, tall enough that you baby would not be able to cross it in any way!
To make your project cost-effective and Ecological, one can use the pallets to build amazingly sturdy baby gates and it will also be easy to customize the dimensions at home to fit your stairway best!
I also hammered one of the old rusty nails in the front of the gate to hold a wreath, but I may change that eventually. You can see how well the vinegar stain worked to age my newer boards. You can hardly tell they were from two different pallets.
Any parent knows that the crucial part of baby proofing is the baby gate! Here's a brilliant project by I Think We Could Be Friends that will show you how you can turn pallets into a cute and handy baby gate!


text:
When Canada confronts a bully, tit-for-tat is best
TOM KOCH
Published June 5, 2017 Updated June 5, 2017
Tom Koch is a medical geographer and ethicist at the University of British Columbia and the director of Information Outreach, Ltd. in Toronto. He is the author of 15 books, including Thieves of Virtue
How do you negotiate with a bully? Can you reason with an egotist who will not listen to another point of view? The answer for game theorists and strategists has been clear for almost 40 years: tit-for-tat. The basic rule is be nice – and respond in kind.
It seems to be the idea behind Canada's increasingly strong reaction to U.S. tariffs and "Buy American" policies. In the past, Canada has been content to play the long game of adjudication rather than rapid response. But in aerospace and lumber disputes, tit-for-tat is the new Canadian order of the day.
In 1979, University of Michigan political-science professor Robert Axelrod sponsored a competition for the best strategy to encourage co-operation in competitive situations. The winner was a very short, two-step program scripted by a University of Toronto psychologist and philosopher, Anatol Rapoport. He called it Tit-for-Tat, and there were just two rules: Co-operate on the first move, then respond in kind to whatever the other person does in each future meeting.
Explainer: The countdown to NAFTA talks has begun. What's going on? A guide
Mr. Rapoport's program won again in a later competition with a much larger field of competitors – some submitting lengthy and detailed strategies. And perhaps best, in reiterative games where the cycle of negotiation goes on and on, Tit-for-Tat was still the hands-down winner. It triumphed not by "beating" the other player into exhaustion but by eliciting behaviours that maximized the potential for both players to do well enough.
It makes intuitive sense. If a co-operator never responds in kind to aggression, there is no reason for the aggressor to be anything but forceful. But if force is met in kind, aggression becomes exhausting. With the rule "respond only in kind," tit-for-tat assures that when co-operation is offered, it is accepted. I'll fight, it says, but I'd rather not.
I learned this in the schoolyard long ago. If you slap me and I do nothing, then I'm a wimp and fair game for a beating. But if I slap you back, well, the confrontation becomes painful no matter who "wins." If you stop fighting, however, so will I, and that's the end of it.
Tit-for-tat doesn't end in continued escalation and ongoing strife because at the first sign of accommodation one responds in kind.
This has never been Canada's policy of international engagement. In successive battles over softwood lumber, for example, Canadian politicians have preferred the long game of adjudication rather than a short-term, comparable response to unilateral, punitive U.S. tariffs. Time and again, World Trade Organization adjudicators have exonerated Canadian policies, but each time the process took years and cost millions.
But times are changing. Ottawa's threat last week to reconsider the purchase of new military jets from Boeing after it called for a trade review of Bombardier was a classic tit-for-tat move. So, too, is British Columbia Premier Christy Clark's suggestion to Ottawa to bar coal exports from B.C. in retaliation for the current softwood-lumber battle.
Note that bluster and shaming are not part of the program. Threats score no points. There is no advantage to calls upon a prior history of shared hardships or proclamations of long-term friendship. Those things are irrelevant, and the rules are simple: proportional response and, when the opportunity arises, co-operation.
Tit-for-tat is not a zero-sum game. Beginning with co-operation, it assumes the best outcome will probably be less than everything. Nobody gets everything, but all get enough to maintain a peaceful equilibrium.
It may be a game strategy, but as we're discovering, it's one with real-world applications. In the current climate of escalating political conflicts – from U.S. trade to North Korea to the Middle East – it's certainly worth trying. Politeness is too often mistaken for weakness by the bullies of the world. With tit-for-tat, nice guys don't need to finish last.
Listen to Donald Trump's speech about the U.S. withdrawing and potentially renegotiating its place in the Paris climate change accord condensed into 90 seconds.
Trump's retreat from West could spur new start to democratic world
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Globe editorial: More hot air, courtesy of Donald Trump
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text:
Infinite Possibility II: Imagination & Creation (2017)
Juror: Lisa Volpe, Associate Curator of Photography at Museum of Fine Arts, Houston (MFAH)
First Place Winner: Betsy Feick
Second Place Winner: Randi Ganulin
Honorable Mentions: Jane Szabo and Julie and Kristen Gautier-Downes
Photography Re-Imagined (VI): Visual Storytelling (2017)
Juror: Cig Harvey, Photographer and Educator
First Place Winner: Anna LaBenz
Second Place Winner: Jeannie Hutchins
Honorable Mentions: Sandra Klein
Infinite Possibility I: Art of Tomorrow (2016)
Juror: Claire C. Carter, Curator of Contemporary Art at Scottsdale Museum of Contemporary Art (SMoCA)
First Place Winner: Christine Cassano
Second Place Winner: Elizabeth Odiorne
Honorable Mentions: Paula Riff and James Angel
Photography Re-Imagined (V): The Artist's Hand (2016)
Juror: Holly Roberts, Photographer and Educator
First Place Winner: Ross Faircloth
Second Place Winner: Sandra Klein
Honorable Mentions: Melanie Walker, Smith Elliot, Katie Kalkstein, and KKDePaul
Previous years to be added!
Infinite Possibility: Creation & Imagination
International Juried Show –Painting, Mixed media, 3D, Photography, and wearable art
Tilt Gallery is on the lookout for creative-minded individuals who specialize in creating pieces that reflect a connection to curiosity and innovation!
Juror: Lisa Volpe, Associate Curator at the Museum of Fine Arts, Houston
EXTENDED DEADLINE for entries: Monday, May 22, 2017
Exhibition: July 6, 2017 – August 26, 2017
Opening Reception: Thursday, July 6, 2017, 7-9 p.m.
CALL FOR ENTRIES SUBMISSION FORM
About the Juror: Lisa Volpe is the Associate Curator of Photography at the Museum of Fine Arts, Houston. She previously was the Curator of the Wichita Art Museum where she oversaw all areas of the museum's collection, especially modern and contemporary art. Additionally, she worked in various curatorial roles at the Santa Barbara Museum of Art (SBMA), the Wallis Annenberg Photography Department at the Los Angeles County Museum of Art (LACMA), and the Cleveland Museum of Art. She has contributed to and helped organize several collaborative exhibitions and publications including Shiny, Sticky, Smooth:Pop Art and the Senses from the Jordan Schnitzer Family Foundation and John Divola: As Far As I could Get, a collaboration between SBMA, LACMA, and the Pomona College Museum of Art.
Eligibility: All the wearable art pieces (jewelry, fiber, etc.) should be hand-made and explore the idea that, beyond the role of adornment, they can act as a visual form of art and tactile manifestation. The process can include, but is not limited to, enameling and metal fabrication. All paintings and mixed-media pieces must be original and one of a kind. The exhibition is open to all subject matter. For further questions e-mail info@tiltgallery.com. Work should have been completed in the last three years.
Entry Fee: $30 for three images. Send any additional images for $5.00 per image. Online payment through Paypal or checks only will be accepted. Make the total entry payment to Tilt Gallery through the Send dropdown menu on Paypal via link below: https://www.paypal.com/home. Send payment to info@tiltgallery.com. Make checks payable to Tilt Gallery and mail to 7077 East Main Street, Suite 14, Scottsdale, AZ 85251.
Submissions will not be reviewed until the entry fee has been paid.
How to Enter: Jurying will be done from the digital representations of artwork only; please do not submit any physical items for the jurying. There is a minimum of three images per artist. Any additional images can be sent for $5.00 each. Submit Jpeg files and Word Submission Form via email only to info@tiltgallery.com with Subject Line: "Infinite Possibility 2017." Files should be 150dpi and no larger than 1000 pixels in the longest dimension. Title each image file with ONLY the title of the piece.
All Submission Forms MUST be typed using the Word document. Images must accurately represent the work being submitted. Tilt Gallery retains the right to reject any work that is not accurately represented by the submission.
Deadline for Submissions: All entries must be received by Monday, May 15, 2017 at 11:59 pm MST. Notification of acceptance will be sent on June 9, 2017. Presentation-ready work (with frame, when required) needs to arrive at the gallery no later than June 30, 2017.
Awards: First Place, Second Place, and honorable mentions will be announced during the opening reception. In addition to the Infinite Possibility: Creation & Imagination juried exhibition, First and Second place winners' will have work selected by Tilt Gallery to be included in our annual signature exhibition Who's in the House at Tilt Gallery in December 2017.
Photography Re-Imagined VI: Visual Storytelling
Juried Show- Personal Narrative and the Photographic Image
Tilt Gallery, Scottsdale, AZ
Juror: Cig Harvey
January 5, 2017 – January 28, 2017
Opening Reception: Thursday, January 5, 2017, 7-9 pm
Scottsdale's Gold Palette ArtWalk Reception: "Local Edge," Thursday, January 26th, 7-9pm, 2017
(Download the form and use Adobe Acrobat DC, which is free, to edit.)
You may download Adobe Acrobat Reader DC from here.
Cig Harvey, Sadie and the Mirror, 2013
About the Juror: The photographs and artist books of Cig Harvey have been widely exhibited and remain in the permanent collections of major museums and collections, including the Museum of Fine Arts, Houston, Texas; the Farnsworth Art Museum, Rockland, Maine; and the International Museum of Photography and Film at the George Eastman House, Rochester, New York. Cig began working in a darkroom at thirteen and has been dedicated to photography ever since. She grew up in the deep valleys of Devon in the UK, and came to the States for her MFA in 1999, after years spent living in Barcelona and Bermuda.
Cig Harvey's first monograph, You Look At Me Like An Emergency (Schilt Publishing, 2012,) is a collection of ten years of pictures and written vignettes. It sold out in all printings and was named one of PDN's Best Books of the Year 2012. Cig had her first solo museum show at the Stenersen Museum in Oslo, Norway, in conjunction with the release. The book was well reviewed in a number of publications, including The Independent, Aesthetica, the Boston Globe, Blink, and PDN. Pro Photographer magazine ran an in depth feature, "Chance: Cig Harvey's deceptively simple photographs tap into the universal elements of the human experience: love, loss, longing and belonging. She's in demand for editorial and commercial work—as well as her for her fine art prints and books."
Cig Harvey's second monograph, Gardening at Night (Schlit Publishing, 2015,) was published in conjunction with solo shows at Robert Mann Gallery, New York, Robert Klein Gallery, Boston and Paul Kopeiken Gallery, Los Angeles. The book received critical acclaim with features and reviews in Vogue, The Telegraph, the International Wall Street Journal, the International New York Times, and Aesthetica among others. The International Wall Street Journal said of the series, "Though the subjects and setting are familiar to us, we cannot help but feel that Cig Harvey has led us through the looking glass to a world of wonder. In the way that twilight is not quite day and not quite night, the photographs of Gardening at Night are stories not yet fully developed, while still capturing the unexpected yet oddly harmonious moments that surround us daily."
Cig Harvey's work has been displayed at Paris Photo, Art Miami, and AIPAD every year since 2006. She has been a nominee for John Gutmann fellowship and the Santa Fe Prize, and a finalist for the BMW Prize at Paris Photo and for the Prix Virginia, an international photography prize for women.
Cig's devotion to visual storytelling has lead to innovative international campaigns and features with New York Magazine, Harper's Bazaar Japan, Kate Spade, and Bloomingdales. Cig teaches workshops and regularly speaks on her work and processes at institutions around the world. She is known for her high energy, sense of humor and creativity. She brings a profound sense of optimism to all that she does.
Cig lives in a farmhouse in the Midcoast of Maine with her husband Doug (who has the profile of an emperor on a Roman coin), their wayward daughter Scout, and Scarlet the dog (the original baby). The slow passing of time and the natural surroundings of her rural home has made her alert to the magic in the mundane.
Eligibility: We are looking for the singular image that evokes story and narrative, often times through metaphor and symbolism. Images can be found or constructed, in landscape, street life and the everyday. The photographs can be from any source, film, digital, or scanned. They can be produced by hand, with historic processes or archival digital prints. The exhibition is open to all forms of visual storytelling and subject matter. This includes personal stories, documentary, fictional narratives, photojournalism, and any other photography that tells a story. For further questions regarding eligible images, email info@tiltgallery.com. Work should have been completed in the last three years
Entry Fee: $30 for three images. Send any additional images for $5.00 per image. Online payment only will be accepted. Make the total entry payment to Tilt Gallery through Paypal by sending payment to info@tiltgallery.com. Use the Send dropdown menu on Paypal via link below: https://www.paypal.com/home. Submissions will not be reviewed until the entry fee has been paid.
How to Enter: Jurying will be done from the digital representations of artwork only; please do not submit any physical items for the jurying. There is a minimum of three images per artist. Any additional images can be sent for $5.00 each. Submit Jpeg files and PDF Submission Form via email only to info@tiltgallery.com with Subject Line: "Jury Call 2017." Files should be 150dpi and no larger than 1000 pixels in the longest dimension. Title each image file with your first and last name, then the image number and the title of the piece, which should correspond to the submission form (example: BobSmith_1_Title, BobSmith_2_Title).
All Submission Forms must be typed using the PDF fillable form. Images must accurately represent the work being submitted. Tilt Gallery retains the right to reject any work that is not accurately represented by the submission.
Deadline for Submissions:
All entries must be received by Friday, November 11th, 2016 at 11:59 pm MST.
Notification of acceptance will be sent on November 17, 2015. Presentation-ready work (with frame, when required) needs to arrive at the gallery no later than Thursday, December 29, 2016
Award: First, and second place awards & honorable mentions will be granted. First place & Second place selected Winners will be included in a Our Tilt Gallery Annual signature exhibition Who's in the House at Tilt gallery.
Infinite Possibility: Art of Tomorrow
International Juried Show –Painting, Mixed media, 3D, and wearable art
Juror: Claire C. Carter
EXTENDED DEADLINE for entries: Sunday, May 22, 2016
About the Juror: Claire C. Carter is Curator of Contemporary Art at the Scottsdale Museum of Contemporary Art where she has curated exhibitions of visual art, architecture and design since 2007. Among the original exhibitions she has presented are Covert Operations: Investigating the Known Unknowns (recently on view at the San Jose Museum of Art); The Five Senses: Janet Cardiff, Olafur Eliasson, Spencer Finch, Roelof Louw, Ernesto Neto; Narrow Road to the Interior: Contemporary Japanese Artists; Architecture + Art: Héctor Zamora; MASHup: New Video Art; and At the Crossroads of American Photography: Callahan, Siskind, Sommer. She is an author of three books co-published by Radius Books and has received awards from the American Alliance of Museums, the American Institute for Graphic Arts and the Association of Art Museum Curators. Her exhibitions have received grants from the Emily Hall Tremaine Foundation, the National Endowment for the Arts, and the Graham Foundation for Advanced Studies in the Fine Arts, among others. She is currently organizing Paolo Soleri: The City is Nature, a retrospective and monograph of the artist and architect, scheduled to open at SMoCA in fall 2017.
DOWNLOAD THE APPLICATION HERE
Deadline for entries: May 15, 2016
Notification of accepted work: June 7, 2016
Accepted work must arrive at gallery: no later than June 30, 2016
Exhibition dates: July 7 – August 25, 2016
Email completed submission form and images to: info@tiltgallery.com with Subject Line "Jury Call 2016"
Entry Fee will also need to be completed through Paypal.
Tilt Gallery, 7077 East Main Street, Suite 14, Scottsdale, AZ 85251
To learn more about the gallery visit www.tiltgallery.com. For questions e-mail info@tiltgallery.com.
ENTRY DEADLINE EXTENDED
CALL FOR ARTISTS: International Juried Show
Photography Re-Imagined V: The Artist's Hand
International Juried Show – One of a Kind Mixed-Media Photographic Imagery
Tilt Gallery, Scottsdale, AZ | Juror: Holly Roberts
EXTENDED DEADLINE for entries: Midnight, November 7, 2015
Exhibition: January 7, 2016 – January 30, 2016
Opening Reception: Thursday, January 7, 2016, 7 – 9 p.m.
Annual Collector's ArtWalk Reception: Thursday, January 28, 7 – 9 p.m.
Holly Roberts, Horse Resting
About the Juror:
Holly Roberts' first national exposure came in 1989 with the publication of the monograph, Holly Roberts, from the Untitled Series published by the Friends of Photography. Although her work has always been based on the photograph, it is the inclusion of paint that makes it distinct. Her recent works develop a narrative scene with collaged photographic elements, making use of familiar or iconic stories to address tougher questions about man's effect on the land and the animals that inhabit it. In 1990, Nazraeli Press published Holly Roberts: Works 1989-1999, and in 2009, Holly Roberts: Works 2000-2009. Her work is held by more than 30 museums and universities. A dedicated teacher as well as a prolific artist, she has had a profound effect on a community of artists around the country. She currently lives and works in the Southwest.
September 8 – October 24, 2015
Depth of Field, curated by Rfotofolio.
We are happy to share this exciting event at Art Intersection. Among the 75 established artists exhibiting, tilt gallery represented artists in the show include: Aline Smithson, Diana Bloomfield, France Scully Osterman and Jennifer Schlesinger. Diana Bloomfield will be teaching a Tri-color Gum Bichromate workshop. We welcome them all!
For more information we invite you to visit Art Intersection.
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Smithtown Township Arts Council: 34th annual Juried Photography Exhibition
Mills Pond House Gallery – 660 Route 25A St. James, New York, NY 11780
Michelle and Melanie Craven are pleased to announce that they have been selected as jurors by the Smithtown Township Arts Council for the 34th annual Juried Photography Exhibition, at the Mills Pond House Gallery.
For more information, we invite you to visit the following link
The Art Beacon
Art Review : Through the lens of desire – Kris Sanford
If you did not have a chance to see the exhibition … click here
June 4 – 28, 2014
Fact and Fantasy – the Kiernan Gallery in Lexington, VA
CALL FOR WORK DEADLINE: April 24, 2014
Photographers have a wonderful ability to turn ordinary surroundings into an otherworldly realm. Optical illusions, chemistry, and the mechanics of modern tools, have opened new possibilities for artists to untether their imaginations. Artists exploring make-believe use their dreams and memories as subject matter. Their work distorts reality, making everyday objects and environments alien and magical. Photographers construct their own fantasies, creating alternate worlds that straddle the line between reality and fiction. For Fact and Fantasy, The Kiernan Gallery seeks images that explore the unearthly and strange.
For this exhibition, juror Melanie Craven of Tilt Gallery will select up to 25 images for display in the main gallery, and up to an additional 35 to be included in the online gallery. All images will be reproduced in an exhibition catalogue available for purchase. A Juror's Choice and Director's Choice will also be announced and will both receive a free copy of the exhibition catalogue.
For more information, we invite you to visit the the Kiernan Gallery website


Scientists have managed to grow perfect human blood vessels as organoids in a petri dish for the first time.The breakthrough engineering technology, outlined in a new study published today in Nature, dramatically advances research of vascular diseases like diabetes, identifying a key pathway to potentially prevent changes to blood vessels--a major cause of death and morbidity among those with diabetes.
To tackle this problem, researchers developed a groundbreaking model: three-dimensional human blood vessel organoids grown in a petri dish. These so-called "vascular organoids" can be cultivated using stem cells in the lab, strikingly mimicking the structure and function of real human blood vessels.
The researchers then exposed the blood vessel organoids to a "diabetic" environment in a petri dish. "Surprisingly, we could observe a massive expansion of the basement membrane in the vascular organoids," said the author. "This typical thickening of the basement membrane is strikingly similar to the vascular damage seen in diabetic patients."


BackBlaze is a popular cloud storage provider that is most well-known for their unlimited backup capabilities. While there have been several companies that have offered unlimited online backup to their users, very few of them are as easy-to-use or have been as successful as BackBlaze has been over their time in the industry.
One of the main benefits of going with BackBlaze is that they automatically backup all of your files without you having to do anything. A lot of cloud storage users get worried about storing important information through the cloud because of the possibility that a major issue could cause them to lose everything. You will not have to worry about that with BackBlaze, however, as they make sure that all of your files are completely backed up.
While most cloud storage providers will give you a limit on the amount of data that can be backed up, BackBlaze actually offers unlimited backup for all of their plans. They also allow you to upload files of any size and provide unlimited bandwidth. This is fairly incredible considering the fact that they are among the most affordable cloud storage and online syncing companies in the industry.
If you are trying to figure out which cloud storage provider will be best for you, one of the first things that you are probably worried about is how easy-to-use the provider is. Fortunately, BackBlaze has really set the bar high for simplicity and offer what is probably the simplest interface in the industry.
While almost every cloud storage provider allows users to access their files through a mobile app, very few of them are as easy-to-use as what BackBlaze offers. Whether you are attempting to access your files from an Android or iPhone device, the BackBlaze app has been raved about for its reliability and simplicity.
BackBlaze advertises themselves as the cheapest cloud storage provider in the industry and you will have a difficult time arguing with that claim. For comparison, both Amazon Web Services and Microsoft Azure are 440% higher in price than what BackBlaze offers for GBs used per month.
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Customer support is certainly not a strong point of BackBlaze, although there really is no reason for it to be. Their desktop and mobile interface is basically self-explanatory and the fact that they have very few features means that there is little reason to ever have to contact their support team.
If support is important to you, however, you will be happy to know that they do offer ticket based assistance to all users of their premium plans. As of now they do not currently offer any type of live phone call support.
The main disadvantage of BackBlaze is that they do not give you the ability to share your files. This is one of the reasons that they are able to offer such low prices as they focus almost solely on cloud backup capabilities. They also do not have too many secondary features for users to utilize, making their services impossible to use for collaboration and team based projects.
The pricing for BackBlaze cloud storage services are very straight-forward. Storage is $0.005 per GB per month for the one and only plan that they offer. Their backup plans, which they are most well-known for, will set you back a meager $5/month per computer whether you are going with the personal or business plan. You can also pay annually for only $50/year.
Overall, BackBlaze is a cloud storage provider that focuses on ensuring that your files are safe and secure. The real beauty of their services is that they do not try to be something they are not and are very transparent about exactly what they do. You certainly will not see one of their sales representatives trying to explain to you how they can also be used for team collaboration and other second-hand possibilities that providers like DropBox offer.
If you are looking for an affordable cloud storage provider that take the stress and inconvenience out of having to continuously backup your files, it does not get much better than BackBlaze. As has been mentioned, however, just do not expect them to do too much more than that.
Unlimited Online Backup. Restores files and access files on iPhone, iPad or Android. Automatic or Scheduled Backups.
Unlimited cloud backup. Cost efficient and centralized admin. Foolproof & offsite. Restore options.
The lowest cloud storage on the planet where developers and programmer can built a scalable, inexpensive cloud storage solution.
Unlimited online backup. Easy and simple to use with lesser price compared to other online backup providers. They do not currently offer live phone call support.


Respect locals and spots. John Duval 'snuck' your attitude, not your wave. Why don't you tell the Internet that day you took all the 'bombs' and they got tired of your attitude? Why do not you tell them that you didn't even try to bring assistance from the jet-shi to the boy while he was on the verge of drowning. He was simply trying to enforce certain limits not to cross.
Different local bodyboarders were on the spot this May 13, 2013, including Nicolas Richard and John Duval. The current was very strong and difficult to hold position. After waiting over an hour and to see the Hawaiian get on wave towed by a jet ski, John, saw the Hawaiian deep inside, so springs and falls in the impressive void crashing to the bottom of the wave. The wave after that is the one Nicolas will start and will not happen either to make.
John Duval went to the brink of drowning.
John Duval, following this terrible 'wipe out' finds himself in big trouble on the edge of drowning and will not be rescued but he managed to reach safety on his own, totally exhausted.
Certain locals believe that Sapinus should not become like Teahupo'o.
One of the rules that is commonly understood is that when there are surfers or bodyborders taking waves paddling, jet skis and tow surfing should be banned and for surfing towed. It happens on Teahupo'o waves more than 7-8 meters, not those of Sapinus 5-6 meters surfable even by those who have the attributes.
Tahiti is not Hawaii. The Polynesian surfer has a nice reputation and welcoming but some limits must be respected. In light of the many comments, apparently these limits were trampled by the Hawaiian Dave Wassel.


This individual was always running late, always moving in ten directions at once, and never followed a whole lot of rules. He sometimes managed effectively people and projects, and other times he couldn't even manage to pay attention.... He had the ability to excite people, to make people laugh, and to motivate them. He was also very eccentric in ways, always randomly learning about electricity, or some weird boat or motorhome design. He would wake up in the morning sometimes with ideas of inventions or machines, and sometimes draw them and design them in their entirety. He can feel presence in an area, and sometimes he can feel, or maybe just discriminate, between a current presence or a previous presence. He can sometimes read your mind. I do need to practice my mind images as that is very challenging.


text:
George Aidoo est un boxeur ghanéen né le 23 février 1947 à Jama.

Carrière
George Aidoo est médaillé d'argent dans la catégorie des poids moyens aux Championnats d'Afrique de boxe amateur 1968 à Lusaka. Il devait participer aux Jeux olympiques d'été de 1968 à Mexico, mais déclare forfait alors qu'il doit affronter le Bulgare  au deuxième tour dans la catégorie des poids moyens.

Notes et références

Liens externes

Boxeur ghanéen
Boxeur aux Jeux olympiques d'été de 1968
Naissance en février 1947
Naissance en Côte-de-l'Or (colonie britannique)


Violetta is a hand drawn typeface created by Sam Parrett which is available in 5 styles, a wide range of OpenType features and language support. It pay attention to details. Violetta Script is a cursive font which has upper & lowercase characters and Violetta Script Alt comes with a completely new set of lowercase. Violetta Swash contains 24 useful swashed and Violetta Script Extended is the extended version of Violetta Script. The last style, Violetta Sans is a simple sans font perfect for the cursive script. It is ideal for any kind of project. Enjoy Violetta!
A font description published on Wednesday, November 9th, 2016 in Fonts, Sam Parrett by Alexandra that has 2,526 views.


text:
City Employees at Fault in More Injury-Causing Car Wrecks
Posted on Nov 5, 2019 10:25am PST by The Perecman Firm, P.L.L.C.
According to StreetsBlog, city-employed drivers are causing more injuries this year than in 2018 despite a decrease in city-owned cars on the streets. Drivers are involved in almost 4% fewer accidents altogether, but that drop hasn't coincided with a safer New York City.
In fact, city employees aren't the only ones who have seen this confusing disparity in car accident reports. Though the collision rate citywide has dropped by nearly 7% since last year, the numbers for collisions resulting in injuries and traffic fatalities have increased—by 1% and 17%, respectively. So, why is it that more people are getting hurt?
Where the Injuries Happen
In 2018, 71,940 New Yorkers were injured in vehicle accidents. Of those, 11,298 (16%) were pedestrians and 3,936 (5%) were bicyclists. More recent data from this year shows a change in the distribution of accidents. Of the 5,355 injuries recorded in August, 700 (13%) were pedestrians and 468 (9%) were cyclists.
If these numbers are indicative of a trend, could the increase in injury be a function of the increase in non-motorist involvement? As of the end of September, bicycle accident deaths have already outnumbered those recorded in all of 2018. How does this relate to the bigger picture of New York City traffic accident injuries and deaths?
Has Vision Zero Made a Difference?
Traffic deaths have been on a downward trend since New York City launched its Vision Zero program in 2014. The data-driven initiative has been behind improvements to many streets and intersections identified as high-risk areas. Vision Zero has also led to the creation of more bike lanes and pedestrian-friendly routes, but detractors question whether this will be enough. Policies and practices that make it easy to travel without cars and discourage driving through pedestrian-heavy areas may be needed to make a difference in traffic injuries and deaths.
What can city employees do when faced with a changing city and proposed restrictions that might affect their on-the-job travel? The city has taken initiative to offer defensive driving training, though it fell short of reaching FY2019 goals. With New Yorkers set to cause more accidents, injuries, and deaths this year, attention within our city agencies may need to be matched with attention to our general populace.
In the meantime, New York taxpayers are subsidizing the city's bad drivers; over $114 million went to lawsuit settlements in 2018. In fact, car accidents take the biggest chunk of change when it comes to NYC tort claims: motor vehicle damage accounts for 63% of property damage settlements, and among personal injury claims, vehicle accidents sit at 19%, the highest of any category.
Categories: Auto Accidents, Personal Injury, Bicycle Accidents, Bus Accidents, Motorcycle Accidents, Pedestrian Accidents, Car Accidents, Accident Lawyers, Distracted Driving, General, Taxi Accident
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"He made a difference for me and my family."


All hotels mentioned here are within a small radius of the venue De Rode Hoed. If you would like to book a room, please use the weblink provided. Prices for hotel rooms depend on availability.
The Renaissance Hotel has a central location. The congress dinner on Saturday will take place is this hotel.
About 6 min. walk (500 m) to Rode Hoed.
Offering impressive views, Mövenpick Hotel is located on the edge of the River IJ.
About 30 min. walk (950 m) to Rode Hoed.
The perfect starting point for exploring Amsterdam. You can wander the picturesque canal streets and discover the various markets and restaurants.
About 6 min. walk (540 m) to Rode Hoed.
About 11 min. walk (930 m) to Rode Hoed.
Inntel Hotels is situated in the historical heart of the city. Within walking distance you will find shopping streets as well as museums and historical sights.
About 7 min. walk (600 m) to Rode Hoed.


The world of Nicholas Stevenson (b. 1989) originates in a childhood spent on a desert island in the middle of the Indian Ocean, with more than 1.300 km to the nearest coast. His chalky gouache paintings and expressive sceneries arouses a feeling of curiosity, wit and mystery, occasionally with an underlaying sense of disturbance.
"My name is Nicholas Stevenson, I am an illustrator from London. I don't have any cats, but I have an old green car." Nicholas studied illustration at Hereford College of Art and already very early in his life he had to use his imagination and exploring skills – in an even greater extend than other kids. During his childhood Nicholas lived on a desert island without videogames or friends, and this experience might have played an essential role in shaping his creative voice and vision.
All works by Nicholas Stevenson.
Nicholas constructs wierd and compelling sceneries filled with bearded animals, wild plantation, deep woods, bird-faced and insect-like characters. His Wes Anderson-esque compositions of needly placed patterns, clever symmetry and bright colors play well together with his darker and more bleak side. Even though Nicholas' world is filled with quirkyness, the fun is always beautifully contrasted by a recurring and unsettling seriousness. This makes Nicholas' work stand out and therefore we reached out to him, with an urge to get to know him a bit better. Luckily he was up for doing an interview! Here you can read more about Nicholas' island life, how he creates his illustrative work, look through his list of inspiring life goals and much more.
What made you choose your current path?
Drawing was always a big part of my life. I was lucky enough to live on a desert island for some of my early years, when my dad got a job in the Seychelles doing nature conservation. There weren't other kids to play with, and I spent most of my time in the sea, pretending to be a pirate and just drawing fish and birds with felt tip pens and pencils. Eventually we moved to a bigger island with a video rental shop, so I suddenly started drawing Darth Vader, Peter Pan and Dinosaurs once that world opened up to me. It was kind of an instinctive thing to just draw whatever I'd seen that day, I think it is for lots of kids, but I never gave up on it. Not even once we moved back to the UK, and I had to work out what football was and who was my favourite Power Ranger.
I started doing different album sleeves and posters in school once I joined bands. I went to a few illustration university open days and there wasn't really any doubt that I'd love every minute of it. To be honest, I did not know that much about the commercial illustration world before I started at university, I just knew historical painters, and that I wanted to tell stories with my drawings. Luckily the course affirmed that I was in exactly the right field!
Can you tell us about your working process?
Do you have a project that you are especially proud of?
In my second year at university I was asked to make the posters and compose music for a production of the play Woyzeck, that the drama course was doing. It has some amazing visual language; wasps on lips and stray hairs in a bowl of peas. I watched the Werner Herzog film adaptation to get inspired, and got really sucked in to it. I began turning out paintings in my sketchbook, about two or three an evening, thickly applied gouache covering every inch of every page. The artwork I created then was really the first pieces of what you'd recognise as being similar to the work I'm doing now, although it's not in my portfolio anymore. It was definitely an exciting break through moment, when I found my way of going about things.
What are your biggest source of inspiration/influence at the moment?
I have a great set of Mexican 'lotteria' cards. The colours are so wonderful, and the print dots are really apparent. The designs have a sort of magical quality to them, they're enticing and appealing, but sort of sinister and occult at the same time.
What are you working on right now? Can you show us any work-in-progress?
Below you can see a screen shot with some of the things that I am working on at the moment. A zine for american musician Bill Baird, some insects and a cassette tape for the record lable Superfan 99 Records.
A screen shot from my computer desktop with some of the things that I am working on at the moment.
What are your hopes, dreams and plans for the future?
Recently I've drawn a children's book for Wide Eyed Editions, so I'm very excited about that being published. I've started to work on my own story as well, involving a little insect family, so I'm excited about making that a reality.
Invent a Cartoon Network show.
Have my work in the Tate Modern.
Do a record sleeve for Fleetwood Mac (although I don't expect them to make a good record again soon).
Get really good at wood work and find time for it.
I want to redesign those bright and ugly seat upholstery designs on every piece of public transport in the UK (sorry whoever made those, I know they're that way to disguise dirt).
I want to draw in the Antarctic, but I'm actually not great with the cold.
And then, I want to be artist in residence at a zoo.
Do you have any piece of advice for fellow creatives?
Just believe that what you're doing is important and do it on full steam. It's very hard to know what is going to be an important project, or doodle, or which little accidental smudge is going to lead you to the next thing. Aim to be pleasantly surprised, and don't wish for everything to turn out how you imagined it.


The United Kingdom has been, and remains, a popular place to work for nurses and other members of the medical profession.
65 million people call the United Kingdom home, and with a relatively small land area, nothing is ever too far away. The United Kingdom's overall population density is one of the highest in the world. Almost one-third of the population lives in England's prosperous and fertile southeast and is predominantly urban and suburban--with about 8 million in the capital of London, which remains the largest city in Europe. The United Kingdom is ethnically diverse, both as a result of its history and the reach of what was the British Empire, and as a result of its membership and proximity to Europe.
While the weather hasn't got the best reputation, the community and the local pub more than make up for it. Whether you wish to develop your career at a leading institution, travel Europe and Northern Africa, explore history in the United Kingdom, visit cultural landmarks, or have a balanced lifestyle, the United Kingdom offers all this and more.
Britain was the world's first industrialised country, and its economy remains one of the largest in the world, but it has for many years been based on service industries rather than on manufacturing. Despite being a major member of the EU, the country is not part of the euro zone, with the currency remaining the British Pound.
You can view the latest jobs available for nurses in the United Kingdom on Global Medical Careers below.


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Home / LIFESTYLE / REVIEWS > / THEATRE REVIEWS / Jonathan Miller's production of Rossini's great comic opera celebrates its 30th birthday
Jonathan Miller's production of Rossini's great comic opera celebrates its 30th birthday
Robert Tanitch reviews ENO's The Barber of Seville at London Coliseum
Rossini's masterpiece, dashed off in less than three weeks, had a disastrous first night in Rome in 1816. The strings of a guitar broke; a singer tripped over a plank and got a bloody nose. A cat walked across the stage not once but twice. The audience laughed, whistled, hissed and meowed.
They made such a racket in the second act that scarcely a note was heard. It was said the claque had been orchestrated by Giovanni Paisiello, who had written an immensely popular opera with the same material 38 years earlier.
Sarah Tynan and Alan Opie in ENO's Barber of Seville
200 years on Rossini's comic opera is still immensely popular and Paisiello is long forgotten.
Jonathan Miller's production premiered in 1987. Conducted by Hilary Griffiths, it's still in good shape and there is some lovely singing.
The funniest moment is right at the end when Count Almaviva (Eleazor Rodriguez) and Rosina (Sarah Tynan) go on and on and on, singing in the way opera singers do, and Figaro (Morgan Pearse) can't get them to leave the stage and make their exit, a nice opera in-joke.
Alan Opie, the original Figaro in 1987, is now Doctor Bartello. In past revivals, Andrew Shore's definitive comic performance turned old Bartolo into the leading role. He also had the best single line: "In my day opera was opera and men were sopranos."
In Shore's absence, Figaro can now take centre stage and Morgan Pearse's strong personality and voice gets the production off to a terrific start and he is a star-turn throughout. Sarah Tynan is a sweet, beautiful and adorable Rosina.
There are three erotic paintings by Louis-Leopold Boilly reproduced in the printed programme but, sadly, nothing erotic on stage. The opera sanitizes Beaumarchais's original play and its commedia dell'arte vulgarities.
Beaumarchais' The Barber of Seville was the first in a trilogy of comedies written over twenty years, covering the intrigues and love affairs of an aristocratic family and their servants, both before and after the French Revolution.
In Britain The Barber of Seville (1775) and The Marriage of Figaro (1784) have been almost totally eclipsed by Rossini and Mozart respectively.
I know of no professional production in English of The Guilty Mother (1796), which was said to be one of Napoleon's favourite plays.
It would be fascinating to see the Beaumarchais trilogy acted within its historical context and given its proper political significance.
To learn more about Robert Tanitch and his reviews, click here to go to his website
Yvonne Howard, Eleazar Rodriguez, Sarah Tynan, Morgan Pearse, Alan Opie and Alastair Miles in ENO's Barber of Seville
Tags: Alan Opie, Alastair Miles, Eleazar Rodriguez, ENO, ENO's The Barber of Seville, Hilary Griffiths, Jonathan Miller, London Coliseum, Morgan Pearse, opera, reviews, Robert Tanitch, Sarah Tynan, The Barber of Seville, Yvonne Howard
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A great tearjerker, Puccini's sweeping rapturous score is irresistible
Daniel Kramer directs his first opera as ENO's Artistic Director
"Women! Who can tell what the hell women are?"


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Author : John P. Kotter
Genre : Business & Economics
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ISBN_10 : 9781422186435
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Offers advice on how to lead an organization into change, including establishing a sense of urgency, developing a vision and strategy, and generating short-term wins.
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Leading Change With A New Preface By The Author
The international bestseller—now with a new preface by author John Kotter. Millions worldwide have read and embraced John Kotter's ideas on change management and leadership. From the ill-fated dot-com bubble to unprecedented M&A activity to scandal, greed, and ultimately, recession—we've learned that widespread and difficult change is no longer the exception. It's the rule. Now with a new preface, this refreshed edition of the global bestseller Leading Change is more relevant than ever. John Kotter's now-legendary eight-step process for managing change with positive results has become the foundation for leaders and organizations across the globe. By outlining the process every organization must go through to achieve its goals, and by identifying where and how even top performers derail during the change process, Kotter provides a practical resource for leaders and managers charged with making change initiatives work. Leading Change is widely recognized as his seminal work and is an important precursor to his newer ideas on acceleration published in Harvard Business Review. Needed more today than at any time in the past, this bestselling business book serves as both visionary guide and practical toolkit on how to approach the difficult yet crucial work of leading change in any type of organization. Reading this highly personal book is like spending a day with the world's foremost expert on business leadership. You're sure to walk away inspired—and armed with the tools you need to inspire others. Published by Harvard Business Review Press.
Author : Paul Lawrence
It is often claimed that 70% of organizational change efforts fail, despite the popularity of linear change models. However these linear approaches to change are often based on the premise that change is predictable and straightforward, when actually change is complex, with the 'human' element often changing the functioning of the organizational system as a whole. Leading Change provides the practical framework that allows leaders to actively engage with a complex adaptive system to bring about successful organizational change. Supported by academic research, and grounded with a range of examples and cases, the book offers a genuine, viable alternative to existing approaches.
A Sense Of Urgency
In his international bestseller "Leading Change," Kotter provided an action plan for implementing successful transformations. Now, he shines the spotlight on the crucial first step in his framework: creating a sense of urgency by getting people to actually see and feel the need for change.
Leading Change In Your School
Author : Douglas B. Reeves
Genre : Education
Guiding schools through significant change is one of the toughest challenges educational leaders face, but learning from the examples of those who have succeeded can make it less daunting. In Leading Change in Your School, distinguished author and researcher Douglas B. Reeves offers lessons learned through his work with educators in thousands of schools around the world and presents real-life examples of leaders who have met the challenge of change head-on—with impressive results for their schools and districts. Readers will also find practical resources for engaging their colleagues in change initiatives. Expanding on a number of his columns in the journal Educational Leadership, Reeves offers insights ad recommendations in four areas: * Creating conditions for change, including assessments to determine personal and organizational readiness for change; * Planning change, including cautionary notes about strategic planning; * Implementing change, including the importance of moving from rhetoric to day-to-day reality; and * Sustaining change, including the need to reorient priorities and values so that individual convenience gives way to a shared sense of the greater good. The change leaders—both teachers and administrators—whose stories Reeves tells come from varied districts, but they share a passion for creating schools that work for all students. They are, Reeves says, "people like you, sharing similar challenges but perhaps with different results."
Leading Change From The Middle
Author : Jackson Nickerson
Genre : Political Science
Bookshelves abound with theoretical analyses, how-to guides, and personal success stories by famous corporate leaders, public officials, even athletic coaches, expounding on how to lead from the top. But what about those in the middle who are increasingly tasked with trying to reshape, reorient, or recreate the capabilities of an organization? Leading Change from the Middle takes you on the journeys traveled by Kurt Mayer, an information technology executive in the Department of Defense trying to build a new IT system in record time with limited resources, and Stephen Wang, a mid-level leader in city government trying to build a capability for supporting commercial agriculture. Kurt and Stephen have to navigate complex organizational and stakeholder landscapes in which they often have few decision rights and few resources—a common scenario for mid-level leaders. One succeeds; one does not. While following Kurt and Stephen, the book introduces a new approach for increasing the likelihood of successfully leading change. This new approach breaks down into three core strategies: First, identify all relevant stakeholders and partition them into four categories: superordinates, subordinates, customers, and complementors/blockers (those who control needed resources but over whom the leaders have no authority). Second, for each stakeholder category, identify Communications, Strategies, and Tactics (referred to as CoSTS). Third, don't stimulate negative emotions that make people DEAF—Disrespect, Envy, Anger, and Fear—to efforts to produce change. As the book follows the journeys of Kurt and Stephen, it walks through the details of each strategy. In presenting this material in a concise, accessible, and applicable format that translates theory to practice, Nickerson provides an important service for leaders trying to build extraordinary capabilities for their organizations—from the middle.
Leading Change Together
Author : Eleanor Drago-Severson
"If we can get adult development right, we can change the world!" Adult development . . . in schools? Yes. In fact, understanding and sharing ideas—and implementing practices—that help adults explore experiences and assumptions is a powerful driver of school change. Eleanor Drago-Severson and Jessica Blum-DeStefano share expertise that has evolved from their many decades of research and work with educators and show you how to • Deepen your understanding of adult development and its role in systemic and schoolwide change and educational improvement, • Connect theory to practice with developmentally oriented structures and strategies that enhance collaboration, communication, and feedback, • Support individual and organizational growth with a differentiated approach to leadership and capacity building, and • Build trust, capacity, collegiality, and sustainability with developmental practices that meet adult needs. Whether you work in a school, district, university, educational institution, or other learning organization, you'll learn how to infuse leadership, collaboration, communication, and capacity building with a deep understanding of individuals' experiences and capacities—and how they influence our day-to-day work. Leading Change Together explains how you and other adult learners can effect tremendous change in schools and systems.
Author : James O'Toole
One of America's most esteemed management thinkers offers a book that transcends how-to management primers, offering an unorthodox approach to leadership based on the lessons of history, moral and political philosophy, and the practical experience of men and women across cultures and circumstances.
Change Leadership The Kotter Collection 5 Books
This impressive collection features the best works by John P. Kotter, known worldwide as the authority on leadership and change. Curated by Harvard Business Review, the longtime publisher of some of Kotter's most important ideas, the Change Leadership set features full digital editions of the author's classic books, including bestsellers Leading Change, The Heart of Change, and A Sense of Urgency, as well as "What Leaders Really Do" and his newly published book Accelerate, which is based on the award-winning article of the same name that appeared in Harvard Business Review in late 2013. Kotter's books and ideas have guided and inspired leaders at all levels. He is the Konosuke Matsushita Professor of Leadership, Emeritus at Harvard Business School, an award-winning business and management thought leader, a successful entrepreneur, and an inspirational speaker. His ideas have helped to mobilize people around the world to better lead organizations, and their own lives, in an era of increasingly rapid change. This specially priced collection offers Kotter's best practical advice, management insights, and useful tools to help you successfully lead and implement change in your organization—and master the art of change leadership.
Leading In A Culture Of Change
Author : Michael Fullan
"At the very time the need for effective leadership is reaching critical proportions, Michael Fullan's Leading in a Culture of Change provides powerful insights for moving forward. We look forward to sharing it with our grantees." --Tom Vander Ark, executive director, Education, Bill and Melinda Gates Foundation "Fullan articulates clearly the core values and practices of leadership required at all levels of the organization. Using specific examples, he convinces us that the key change principles are equally critical for leadership in business and education organizations." --John Evans, chairman, Torstar Corporation "In Leading in a Culture of Change, Michael Fullan deftly combines his expertise in school reform with the latest insights in organizational change and leadership. The result is a compelling and insightful exposition on how leaders in any setting can bring about lasting, positive, systemic change in their organizations." --John Alexander, president, Center for Creative Leadership "Michael Fullan's work is remarkable. He masterfully captures how leaders can significantly improve their learning and performance, even in the uncontrollable, chaotic circumstances in which they practice. A tour de force." --Anthony Alvarado, chancellor of instruction, San Diego City Schools "Too often schools and businesses are seen as separate and foreign places. Michael Fullan blends the best of knowledge from each into an exemplary template for improving leadership in both." --Terrence E. Deal, coauthor of Leading with Soul Business, nonprofit, and public sector leaders are facing new and daunting challenges--rapid-paced developments in technology, sudden shifts in the marketplace, and crisis and contention in the public arena. If they are to survive in this chaotic environment, leaders must develop the skills they need to lead effectively no matter how fast the world around them is changing. Leading in a Culture of Change offers new and seasoned leaders' insights into the dynamics of change and presents a unique and imaginative approach for navigating the intricacies of the change process. Michael Fullan--an internationally acclaimed expert in organizational change--shows how leaders in all types of organizations can accomplish their goals and become exceptional leaders. He draws on the most current ideas and theories on the topic of effective leadership, incorporates case examples of large scale transformation, and reveals a remarkable convergence of powerful themes or, as he calls them, the five core competencies. By integrating the five core competencies--attending to a broader moral purpose, keeping on top of the change process, cultivating relationships, sharing knowledge, and setting a vision and context for creating coherence in organizations--leaders will be empowered to deal with complex change. They will be transformed into exceptional leaders who consistently mobilize their compatriots to do important and difficult work under conditions of constant change.
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White Spirit Lodge
5 Interior Design Trends for 2021
Home of the Week: Fold House by Partisans
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A mountaintop citadel.
Writer Bob Ransford
A castle is often the icon for the mountain atop which it sits. In other cases, the mountain is the iconic setting for the castle. In the case of the White Spirit Lodge and British Columbia's mountaintop Big White Ski Resort, there is a clear symbiosis between the imposing but cozy log post-and-beam alpine palace and the setting of the family-oriented yet discerning ski resort in which it is situated.
George Schluessel was inspired to build White Spirit Lodge, his ski-in/ski-out family getaway at Big White, when he realized he had experienced some of the best skiing days of his life at the resort. He describes Big White as "a very personable resort" and refers to his White Spirit Lodge—the 10,000-square-foot home and guest house—as "a hospitable castle".
"Time and again you have those perfect ski days with great snow and great weather, and you can ski your legs off. At Big White, you get good snow through most of the season, and there aren't huge crowds here," explains Schluessel, an avid skier and the president and CEO of Calgary real estate development company ProCura.
Within the home's stone turret, a custom-made timber staircase encircles a 15-metre-tall red cedar that weighs over 6,500 kilograms.
Big White is the second-largest resort in B.C. after Whistler Blackcomb Ski Resort and while it attracts international skiers like Whistler does, its small-town character and intimate size makes it a preferred destination for families on winter getaways. The village is located only about an hour's drive from downtown Kelowna, 1,755 metres above sea level, atop the highest summit between B.C.'s Monashee Mountains and the Okanagan Valley.
Winter activities are the main attraction at Big White. In the summer, the focus shifts to Kelowna's warm-weather lakeside recreational activities, so the resort virtually shuts down at winter's end and fewer than 250 permanent residents remain on the mountain. (There are no single-family homes that rival the size and opulence of the White Spirit Lodge in Big White, where there are about 300 detached vacation homes, four hotels, and 25 condo and townhouse complexes clustered in the ski-in/ski-out village centre.) In many ways, this helps to preserve the small mountaintop-village character of the place that attracted the Schluessel family to create their dream resort home there.
The majesty of the chalet-style home is its understated, rustic opulence that symbolizes the often unrecognized connection between those who visit the mountain and its natural terrain, the trees that grow on the mountain, and the animals that live in the mountain's habitat. All of these elements are represented in the way the home was designed and constructed.
The master suite at White Spirit Lodge.
"While the structure is massive and awesome, we also strived to create a natural, comforting feeling with the way we used natural materials and oriented things," Schluessel says in describing what he was trying to achieve as he created the home in a design-build process that unfolded over more than two and a half years. "Yes, it's massive, but I believe it's also warm and cozy."
White Spirit Lodge is located atop a plateau at the convergence of two main ski runs at Big White Ski Resort. The majesty of the chalet-style home is its understated, rustic opulence.
White Spirit Lodge is located atop a small plateau at the convergence of two main ski runs, Sundance and Highway 33, in Big White's Feathertop Estates neighbourhood. It is oriented to afford both sunrise and sunset views from within the house. The home's most dramatic feature is its open main floor which has clear views through the building's log structure. The placement of the western red cedar log posts—most of them almost a metre in diameter and distinctively natural, and each with its own random, gnarled character—evokes the feeling and mood of being in the middle of an old-growth forest, with hefty trunks rising from the floor and towering above.
"The logs themselves create that wow factor. We just put them in strategic places," explains Gary Crosina of Pioneer Log Homes of British Columbia, the company that constructed the home for Schluessel. According to Crosina, western red cedar logs, with their shape, colour and random character, are unlike any others. "All of the other logs available don't have close to the character that western red cedar offers." The dramatic logs, many of them from trees that were 300 to 500 years old, ensure that each design is going to be distinctive.
Schluessel provided the vision and creative guidance, and a commitment to a level of craftsmanship that went far beyond the post-and-beam construction; he collaborated closely with Pioneer Log Homes in the design and day-to-day construction of the home. "We always wanted a place on this hill, and we always wanted a log home. When I went to visit Pioneer with my idea to create a home that has a feeling of a mini-village, I knew I could work with them," Schluessel explains.
Pioneer Log Homes has been building log homes since 1973, and has grown to earn a global reputation for its log structures. Many of White Spirit Lodge's structural support posts are feature elements, or what Crosina calls "character posts", often with large flared bases or tops and with bulging, gnarled knots that give them an almost sculptural look.
Western red cedar features prominently in many of the lodge's spacious living areas.
Every log was hand-picked for its placement within the structure. After the logs were chosen and the home's layout was set, each log was notched with a chainsaw and the structure was preassembled at Pioneer's site in Williams Lake, B.C. (Logs were salvaged from rivers, and came from blown-down trees and trees that were undesirable to B.C.'s sawmills due to their size or character.)
Then the structure was marked and disassembled, and 27 semi-trailer loads of logs were shipped 500 kilometres to the Big White site for the actual construction of the home.
Many of the logs were from B.C.'s North Coast region, including the log that was cut to form the four main uprights that frame the home's porte cochère, which is at one end of a central courtyard that White Spirit Lodge is arranged around, like a small village. This one log is especially unique in that it was formed from four individual cedar trees that became intertwined because of the force of the winds in the offshore Haida Gwaii area and grew over a 300- to 400-year period into one tree.
A large trunk-like chunk from an 1,800-year-old fallen log was partially milled to form a featured serving island in the spacious open-plan kitchen. The four-bedroom home's layout radiates from a central staircase that spirals around a log post that stands nearly 15 metres high, from the basement to the top of the home's second storey. The interior was designed without an interior designer, with the logs themselves inspiring the look and with each detail customized almost on a room-to-room basis.
The placement of the log posts evokes the feeling and mood of being in the middle of an old-growth forest, with hefty trunks rising from the floor and towering above.
The floor that spans the entry hall and the living room evokes a lake from the entry hall that spills down into a river that flows through the sunken living room. The black granite tiles that make up the "lake" were hand-set in a richly detailed pattern that prevents light from reflecting off the natural mineral flecks within them and distracting from the view, through the living room and out the expansive windows to the mountain vista beyond. However, those same flecks are accentuated for the reverse view, looking back into the darker entry hall, where they reflect natural light and sparkle like stars in a night sky. Custom-cast glass tiles in the shape of river-washed pebbles are set in a pattern that resembles a stream running past the living room's Rundle-stone fireplace.
All of the large cedar-panel doors in the home are custom constructed, and most feature elaborately carved full-length reliefs. Many carvings depict animals, and each one tells a story that relates to the often-whimsical interpretation of the room's use or a Schluessel family experience. For example, the door to the spa located in the home's lower level features a carving of Spirit—the Schluessel family dog whose name inspired the name White Spirit Lodge. In the carving, Spirit is giving a massage to a bear in repose on a massage table. In addition to a massage studio, the spa contains a tiled Turkish steam bath and a separate sauna. The door to the wine cellar is elaborately carved with a vineyard scene, and the floor in the wine cellar is a burgundy coloured polished concrete.
White Spirit Lodge has a central courtyard of black granite creating the illusion of a pond.
A finely carved eagle head adorns the end of a massive log beam that spans the length of the second storey. The carving is visible not only from the main floor below, but also from a vantage point in a landing at the top of the stairs. The second-floor master bedroom features a custom-designed log bed set prominently in the centre of the room.
The Schluessel family shares their home with others who are attracted to the mountain setting and looking for something special when visiting Big White. Accommodation for up to 12 people can be arranged at White Spirit Lodge, and the home is available for functions, such as large group dinners and corporate meetings.
Building impressive homes with this kind of detail isn't new to Schluessel. It's a hobby and passion that aligns closely with his career developing large multifamily residential and commercial real estate projects in Alberta and B.C. White Spirit Lodge is the third large custom home he has built for his family. One of his other custom home creations is located on Okanagan Lake in Kelowna—another place the Schluessel family has been attracted to for its recreational offerings.
"You can ski, golf, and boat on the lake all in one day in the same area," says Schluessel. "If you couple Big White with Kelowna, the entire region becomes an international destination, especially with Kelowna's international airport 50 minutes away."
The hospitable castle is making the personable resort just a little more special.
Photos by Michael Heroux.
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Connor Farrer - Hooker
Place Of Birth Pontypridd
Clubs West Wales Raiders, South Wales Scorpions, South Wales Scorpions Development, South Wales Scorpions U18, Celtic Crusaders U16, Celtic Crusaders U15, Pontyclun Panthers
Honours Wales Nines, Wales RL, Wales Students, Wales RL U19, Wales Dragonhearts, Wales RL U16
A product of the junior rugby league system in South Wales, Connor was regularly the youngest, smallest and one of the most talented in all of his junior sides, normally playing an age-group up. He scored on his full Wales men's debut against Scotland in 2014, but that was after coming through the WRL junior system, winning caps for Wales U16, Wales Dragonhearts (with whom he played for a scored a try just after his 17th birthday), six Wales U19 caps, all after his Dragonhearts appearance, and Wales Students. His last caps for Wales were for Wales Nines in the 2018 Commonwealth Championships. Club wise he played for South Wales Scorpions and West Wales Raiders, sometimes keeping more experienced players out of the side. However the constant defeats disheartened him and he eventually moved to Australia and became successful playing Country Rugby League in New South Wales.
Also played in the Danny Jones Memorial Match - Keighley Cougars v Wales on 25/10/2015 scoring one try. Click here for details on this game.


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