text:
package io.confluent.examples.streams;

import org.apache.avro.generic.GenericRecord;
import org.apache.avro.generic.GenericRecordBuilder;
import org.apache.kafka.clients.consumer.ConsumerConfig;
import org.apache.kafka.clients.consumer.ConsumerRecords;
import org.apache.kafka.clients.consumer.KafkaConsumer;
import org.apache.kafka.clients.producer.KafkaProducer;
import org.apache.kafka.clients.producer.ProducerConfig;
import org.apache.kafka.clients.producer.ProducerRecord;
import org.apache.kafka.common.serialization.Deserializer;
import org.apache.kafka.common.serialization.Serdes;
import org.apache.kafka.common.serialization.StringSerializer;
import org.apache.kafka.streams.KafkaStreams;
import org.apache.kafka.streams.kstream.Windowed;
import org.apache.kafka.streams.kstream.internals.WindowedDeserializer;
import org.apache.kafka.test.TestUtils;
import org.junit.After;
import org.junit.Before;
import org.junit.BeforeClass;
import org.junit.ClassRule;
import org.junit.Test;

import java.io.IOException;
import java.util.Arrays;
import java.util.Collections;
import java.util.HashMap;
import java.util.List;
import java.util.Map;
import java.util.Properties;
import java.util.Random;

import io.confluent.examples.streams.kafka.EmbeddedSingleNodeKafkaCluster;

import static io.confluent.examples.streams.TopArticlesExampleDriver.loadSchema;
import static org.hamcrest.MatcherAssert.assertThat;
import static org.hamcrest.core.IsEqual.equalTo;

public class TopArticlesLambdaExampleTest {

  @ClassRule
  public static final EmbeddedSingleNodeKafkaCluster CLUSTER = new EmbeddedSingleNodeKafkaCluster();
  private final String [] users = {"jo", "lauren", "tim", "sam"};
  private final Random random = new Random();
  private KafkaStreams streams;

  @BeforeClass
  public static void createTopics() {
    CLUSTER.createTopic(TopArticlesLambdaExample.TOP_NEWS_PER_INDUSTRY_TOPIC);
    CLUSTER.createTopic(TopArticlesLambdaExample.PAGE_VIEWS);
  }

  @Before
  public void createStreams() throws IOException {
    streams =
        TopArticlesLambdaExample.buildTopArticlesStream(CLUSTER.bootstrapServers(),
                                                        CLUSTER.schemaRegistryUrl(),
                                                        TestUtils.tempDirectory().getPath());
  }

  @After
  public void stopStreams() {
    streams.close();
  }

  @Test
  public void shouldProduceTopNArticles() throws Exception {
    final Properties props = new Properties();
    props.put(ProducerConfig.BOOTSTRAP_SERVERS_CONFIG, CLUSTER.bootstrapServers());
    props.put(ProducerConfig.KEY_SERIALIZER_CLASS_CONFIG,
              StringSerializer.class);
    props.put(ProducerConfig.VALUE_SERIALIZER_CLASS_CONFIG,
              io.confluent.kafka.serializers.KafkaAvroSerializer.class);
    props.put("schema.registry.url", CLUSTER.schemaRegistryUrl());
    final KafkaProducer<String, GenericRecord> producer = new KafkaProducer<>(props);

    final GenericRecordBuilder pageViewBuilder =
        new GenericRecordBuilder(loadSchema("pageview.avsc"));

    pageViewBuilder.set("flags", "ARTICLE");

    pageViewBuilder.set("industry", "eng");
    createPageViews(producer, pageViewBuilder, 3, "news");
    createPageViews(producer, pageViewBuilder, 2, "random");
    createPageViews(producer, pageViewBuilder, 1, "stuff");

    pageViewBuilder.set("industry", "science");
    createPageViews(producer, pageViewBuilder, 3, "index");
    createPageViews(producer, pageViewBuilder, 2, "about");
    createPageViews(producer, pageViewBuilder, 1, "help");

    final Map<String, List<String>> expected = new HashMap<>();
    expected.put("eng", Arrays.asList("news", "random", "stuff"));
    expected.put("science", Arrays.asList("index", "about", "help"));

    streams.start();

    final Properties consumerProperties = new Properties();
    consumerProperties.put(ConsumerConfig.BOOTSTRAP_SERVERS_CONFIG, CLUSTER.bootstrapServers());
    consumerProperties.put(ConsumerConfig.GROUP_ID_CONFIG, "top-articles-consumer");
    consumerProperties.put(ConsumerConfig.AUTO_OFFSET_RESET_CONFIG, "earliest");
    final Deserializer<Windowed<String>>
        windowedDeserializer = new WindowedDeserializer<>(Serdes.String().deserializer());
    final KafkaConsumer<Windowed<String>, String> consumer = new KafkaConsumer<>(consumerProperties,
                                                                                windowedDeserializer,
                                                                                Serdes.String().deserializer());

    consumer.subscribe(Collections.singletonList(TopArticlesLambdaExample.TOP_NEWS_PER_INDUSTRY_TOPIC));

    final Map<String, List<String>> received = new HashMap<>();
    final long timeout = System.currentTimeMillis() + 30000L;
    boolean done = false;
    while(System.currentTimeMillis() < timeout && !done) {
      final ConsumerRecords<Windowed<String>, String> records = consumer.poll(10);
      records.forEach(record ->
                          received.put(record.key().key(), Arrays.asList(record.value().split("\n"))));

      done = received.equals(expected);
    }

    assertThat(received, equalTo(expected));

  }

  private void createPageViews(final KafkaProducer<String, GenericRecord> producer,
                               final GenericRecordBuilder pageViewBuilder,
                               final int count, final String page) {
    pageViewBuilder.set("page", page);
    for (int i = 0; i< count; i++) {
      pageViewBuilder.set("user", users[random.nextInt(users.length)]);
      producer.send(new ProducerRecord<>(TopArticlesLambdaExample.PAGE_VIEWS,
                                         pageViewBuilder.build()));
    }
    producer.flush();
  }

}

redpajama_set_name: RedPajamaGithub


text:
News World Beach in Barcelona evacuated after explosive device found in water
Beach in Barcelona evacuated after explosive device found in water
A beach in Barcelona was evacuated on Sunday after police found an explosive device in the water that appeared to be old, possibly dating back some 80 years to the Spanish Civil War, a Civil Guard spokeswoman said.
Police established a security perimeter of 250 metres (800 feet) around the device off the Sant Sebastia beach, one of Barcelona's most popular beaches.
Navy specialists will arrive on Monday to deactivate the device, which could date back to the 1936-1939 Civil War, the spokeswoman said, adding the closure would remain in place until the area is made safe.
The device, located at a depth of 3 metres (10 feet) and 25 metres (80 feet) from the shore, was found by an off-duty police diver who happened to be swimming in the area, she added.
Previous articleJohnson told Tusk: We leave EU on Oct. 31 whatever the circumstances
Next articleWoman reported missing in Paralimni area (photos)

redpajama_set_name: RedPajamaCommonCrawl


The rescue of 11 Asian Elephants (Elephas maximus) from a mud hole inside the Keo Seima Wildlife Sanctuary, Mondulkiri Province, Cambodia, on 24th March 2017 avoided a tragedy for wildlife conservation in Cambodia.
'If the community had not come together with the Wildlife Conservation Society (WCS), ELIE and the Department of Environment to rescue these 11 Asian Elephants, this would have been a tragedy" said Tan Setha, WCS Technical Advisor to the protected area. "This herd consisted of three adult females and eight juveniles of various ages, including a male that had almost reached maturity. These elephants represent an important part of the breeding population in Keo Seima Wildlife Sanctuary, and their loss would have been a major blow to conservation."
The mud hole where the elephants where trapped was a bomb crater left over from the Vietnam War that had been enlarged by farmers to store water. When local farmers discovered the elephants they notified the Department of Environment, who in turn notified WCS who were able to mobilize a rescue.
"This is a great example of everyone working together in Cambodia to save wildlife," said Dr Ross Sinclair, WCS Country Director. "Too often the stories around conservation are about conflict and failure, but this is one about cooperation and success. That the last elephant to be rescued needed everyone to pull together on a rope to drag it to safety is symbolic of how we have to work together for conservation" he added.
WCS, in collaboration with Government of Cambodia through Ministry of Environment (MoE) and the Department of Environment (DoE) and local communities, has been conserving the Keo Seima Wildlife Sanctuary for over 15 years. KSWS is one of the most important sites for Asian Elephants in Cambodia and also supports other important wildlife populations. Elephant conservation work in KSWS is supported by the United States Fish and Wildlife Service.


Those who book the airport VIP service can access this lounge.
Access must be booked in advance.
Worth a DetourIt feels great having a quiet and peaceful space to relax all to yourself. They take care of the logistics for you, so boarding is easy and stress free.


The exact function of the BRCA1 and BRCA2 genes is not known, however, current evidence suggests that they are involved in repair of DNA damage and the control of DNA replication fidelity. In support of this concept, mouse models with loss of both alleles of either BRCA1 or BRCA2 result in severe growth deficit and embryonic death. This has been associated with activation of the p53 DNA damage response pathway (98-100). Similarly, in patients with BRCA1 and BRCA2 associated breast cancers, more than 90% display inactivation of p53 (101-103).


text:
Dentobunus waigenensis is een hooiwagen uit de familie Sclerosomatidae.

Sclerosomatidae

redpajama_set_name: RedPajamaWikipedia


The Ricoh GR II and the Sony Alpha A5000 are two digital cameras that were officially introduced, respectively, in June 2015 and January 2014. The GR II is a fixed lens compact, while the A5000 is a mirrorless interchangeable lens camera. Both cameras are equipped with an APS-C sensor. The Ricoh has a resolution of 16.1 megapixels, whereas the Sony provides 19.8 MP. Read on to find out how these two cameras compare with respect to their body size, their sensors, their features, their input-output connections, and their reception by expert reviewers.
An illustration of the physical size and weight of the Ricoh GR II and the Sony A5000 is provided in the side-by-side display below. The two cameras are presented according to their relative size. Three consecutive views from the front, the top, and the rear side are shown. All width, height and depth measures are rounded to the nearest millimeter.
The A5000 can be obtained in three different colors (black, silver, white), while the GR II is only available in black.
If the front view area (width x height) of the cameras is taken as an aggregate measure of their size, the Sony A5000 is notably smaller (6 percent) than the Ricoh GR II. In this context, it is worth noting that neither the GR II nor the A5000 are weather-sealed.
The above size and weight comparisons are to some extent incomplete and possibly misleading, as the GR II has a lens built in, whereas the A5000 is an interchangeable lens camera that requires a separate lens. Attaching the latter will add extra weight and bulk to the setup. You can compare the optics available for the A5000 and their specifications in the Sony E-Mount Lens Catalog.
Concerning battery life, the GR II gets 320 shots out of its DB65 battery, while the A5000 can take 420 images on a single charge of its NP-FW50 power pack. The battery packs of both cameras can be charged via USB, which can be very convenient when travelling.
Both cameras under consideration feature an APS-C sensor, but their sensors differ slightly in size. The sensor area in the A5000 is 4 percent smaller. They nevertheless have the same format factor of 1.5. Both cameras have a native aspect ratio (sensor width to sensor height) of 3:2.
Despite having a slightly smaller sensor, the A5000 offers a higher resolution of 19.8 megapixels, compared with 16.1 MP of the GR II. This megapixels advantage comes at the cost of a higher pixel density and a smaller size of the individual pixel (with a pixel pitch of 4.25μm versus 4.79μm for the GR II). Moreover, it should be noted that the GR II is a somewhat more recent model (by 1 year and 5 months) than the A5000, and its sensor might have benefitted from technological advances during this time that further enhance the light gathering capacity of its pixels. Coming back to sensor resolution, it should be mentioned that the GR II has no anti-alias filter installed, so that it can capture all the detail its sensor resolves.
The Ricoh GR II has a native sensitivity range from ISO 100 to ISO 25600 The corresponding ISO settings for the Sony Alpha A5000 are ISO 100 to ISO 16000 (no boost).
Many modern cameras cannot only take still pictures, but also record videos. The two cameras under consideration both have sensors whose read-out speed is fast enough to capture moving pictures, but the A5000 provides a faster frame rate than the GR II. It can shoot movie footage at 1080/60i, while the Ricoh is limited to 1080/30p.
Beyond body and sensor, cameras can and do differ across a range of features. The GR II and the A5000 are similar in the sense that neither of the two has a viewfinder. The images are, thus, framed using live view on the rear LCD. That said, the GR II can be equipped with an optional viewfinder – the GV-1. The following table reports on some other key feature differences and similarities of the Ricoh GR II, the Sony A5000, and comparable cameras.
The A5000 has an articulated screen that can be turned to be front-facing. This characteristic will be appreciated by vloggers and photographers who are interested in taking selfies. In contrast, the GR II does not have a selfie-screen.
The GR II writes its imaging data to SDXC cards, while the A5000 uses SDXC or Memory Stick PRO Duo cards. Both cameras can use UHS-I cards, which provide for Ultra High Speed data transfer of up to 104 MB/s.
For some imaging applications, the extent to which a camera can communicate with its environment can be an important aspect in the camera decision process. The table below provides an overview of the connectivity of the Ricoh GR II and Sony Alpha A5000 and, in particular, the interfaces the cameras (and selected comparators) provide for accessory control and data transfer.
It is notable that the GR II has a hotshoe, while the A5000 does not. This socket makes it possible to easily attach optional accessories, such as an external flash gun.
The GR II is a recent model that features in the current product line-up of Ricoh. In contrast, the A5000 has been discontinued (but it can be found pre-owned on eBay). As a replacement in the same line of cameras, the A5000 was succeeded by the Sony A5100. Further information on the two cameras, as well as related accessories, can be found on the official Ricoh and Sony websites.
So what conclusions can be drawn? Which of the two cameras – the Ricoh GR II or the Sony A5000 – has the upper hand? A synthesis of the relative strong points of each of the models is listed below.
More detailed LCD: Has a higher resolution rear screen (1230k vs 461k dots).
Faster burst: Shoots at higher frequency (4 vs 3.5 flaps/sec) to capture the decisive moment.
Ready to shoot: Has a lens built-in, whereas the A5000 requires a separate lens.
Less heavy: Is lighter even though it comes with a built-in lens (unlike the A5000).
More modern: Is somewhat more recent (announced 1 year and 5 months after the A5000).
More detail: Has more megapixels (19.8 vs 16.1MP), which boosts linear resolution by 11%.
Longer lasting: Gets more shots (420 versus 320) out of a single battery charge.
If the number of relative strengths (bullet points above) is taken as a guide, the GR II emerges as the winner of the contest (10 : 8 points). However, the relevance of individual strengths will vary across photographers, so that you might want to apply your own weighing scheme to the summary points when reflecting and deciding on a new camera.
Do the specifications of the Ricoh GR II and the Sony A5000 place the cameras among the top in their class? Find out in the latest Best Prime Lens Compact Camera and Best Mirrorless Interchangeable Lens Camera listings.
In any case, while the comparison of technical specifications can provide a useful overview of the capabilities of different cameras, it remains incomplete and does no justice, for example, to the way the GR II or the A5000 perform in practice. User reviews, such as those found at amazon, can sometimes inform about these issues, but such feedback is often incomplete, inconsistent, and biased.


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TextilPont - a sure hit.


We might assume an electronic charting system (ECS) is only useful if we have a GPS connected to it so we can track our boat across the chart. But the main component of the system is actually the echart navigation software and a set of echarts. The GPS is just a luxury. We can do a tremendous amount of sophisticated navigation, both easily and accurately, without the GPS.
In fact, the crucial part of a well-navigated voyage is done before the boat pulls away from the dock. We can do a rough layout of the route for quick time and distance estimates, and then zoom in along the route and fine tune each of the waypoints to optimize their use underway. This usually calls for choosing them such that they correlate with good visual or radar targets along the route. Then give each a name, not just a number.
These programs also have built-in tide and current predictions, so we can estimate SMG (speed made good) along the route, and then print out a route plan with individual route-leg courses and distances and ETAs all tabulated. This is prudent preparation, with or without GPS to track us across the chart.
In this note we look at a couple ways you can navigate with echarts without relying on GPS–or put another way, if you happen to lose your GPS, don't shut off the ECS. It remains your most convenient and accurate means of chart navigation.
We look at a couple ways to monitor progress (without GPS) to be sure we do not get set down upon the reef. Tidal current predictions are for 1.5 kts setting toward 135 T at the time along this route. We can learn the currents directly from the ECS program underway, without wireless connection.
These are belt and suspender conditions. We want as many safety checks as possible, and we want to monitor at least two of them at all times. We start from a known position having just passed a small islet, now our job is to get over to the channel along some efficient but still safe route. We can power at 6 kts in these conditions, but we know we will be set by the current and need to correct for this. To track due west, we will need to point into the current.
Figure 1. An ECS solution for course to steer to make good a desired direction.
So as our knotmeter reads 6 kts and our heading is 280 T, we can assume we are making good 270 T at a speed of 4.9 kts. This helps us keep track of our position by dead reckoning as we proceed, but we need ways to check this.
1. Current Corrections from ECS.
Finding the course to steer (C) to make good a desired direction (CMG) in the presence of current (Set, Drift) is a vector problem that is easily solved with an ECS display. We do it by making a route that has 3 legs, zoomed in or out on the chart to create a scale of 1 nmi = 1 kt.
Plot the route (see Figure 1).
Leg 1. Draw a leg (A to B) in the direction to be made good (CMG) with a length longer than the knotmeter speed (S) you can make in present conditions.
Leg 2. Draw a leg (B to C) into the direction the current comes from (Set + 180) with a length equal to the Drift.
Leg 3. Draw a leg (C to D) that takes you back to the line A-B with a length equal to S. This is done in two steps, first back to the line, then slide up and down the line until the C-D length is exactly equal to S.
(1) Reverse the leg C-D (often just right click, and choose Reverse) so you can read the course to steer that will make good A to B.
(2) Measure the length of D to B to find the SMG you will make when correcting for the current. This can be done with a Range and Bearing tool, or just move A to overlap D and read the new leg length.
We want to make 270 T, the current is 1.5 kts in direction 135 T. We find the C we need is 280 T, and the resulting SMG will be 4.9. Our quick estimate was right on in this case, but ± 5º or so might be more typical.
Next we can in seconds measure from the echart an accurate danger bearing to the QG (Quick flashing Green) light that will keep us off the buoy ("FR") that should be marking the reef but is not in this hypothetical example. We see that this bearing should not ever be larger than 254 M (we are assuming a 20º E variation). We watch it with a bearing compass as we proceed, after first checking that it is now due west (250 M) as it should be. If the bearing gets smaller we are slipping north of our track; if it gets larger we are getting pushed south. If it gets larger than 254 M, we are headed for the reef, as shown in Figure 2.
Figure 2. Selecting a danger bearing to the QG light dead ahead at the start. The 0.5nmi range rings mark distance from the starting point, which helps for quick chart plotting from log readings.
In this hypothetical situation, the only thing we have left to use is our sounder. This is not an ideal route for depth sounding navigation, but even in this case there are still a few guidelines that can assist our navigation. The main point for now is to show how powerful the ECS is for setting up sounder navigation. The details are in sidebar 2 and Figure 3. To do this accurately we need tide height, which we also get from the ECS program with the click of a button.
Figure 3. A line of soundings made from an ECS program. We added the plot at the top to illustrate the pattern. It was made by copying the route plan and pasting into a spreadsheet and plotting. The range rings at 0.5 nmi set on the starting point helps monitor the correlation between depth and DR position. Though not the best bottom for sounding navigation, we still have a few things to note. First the depth should drop off rapidly, then carry on slowly deepening. If it should go up at about 0.5 - 0.7 nmi off (marked red in the plot), we know we are getting pushed south. Then if we are right on track, we should see the 19-fathom bump at about 1.7 nmi off (marked green in the plot).
Whenever the water is not too deep (i.e. our sounder works) and not too flat, we can usually gain much nav info from a line of soundings. Here is a fast and accurate way to set this up using ECS.
(1) Set up the route line for the leg to be navigated.
(2) Then zoom in and follow it along, inserting a waypoint at each depth contour or notable sounding. Name the waypoint with the depth.
(3) Then use your ECS function that itemizes the route. It has various names: Route Details, Plan Book, Voyage Plan, etc. It is a list of waypoints, showing name, location, and the range and bearing between each one, and ETA assuming some SMG. That list shows exactly what depth you should read after traveling the indicated distance. An example is shown in Figure 3.
(4) Then as you proceed, you can record the depth at various log readings, and compare what you see with what you expected. In many cases you can find an approximate position from this comparison. Tide height and sounder draft must be accounted for. With ECS you can set range rings on your departure point to show where you might be as the log reading increases.
With paper charts you can draw a line on transparent paper in the right orientation, and mark off the measured depths using the same miles scale as the chart. Then slide the transparency around till you match your measurements.
These are just a couple chart navigation exercises that are nicely solved by ECS without GPS. There are many. Besides the range and bearing tool for standard plotting, a versatile option that is often overlooked is the ability to set multiple range rings on any mark or waypoint. This has numerous applications, we have shown only one.
The navigation procedures described here are adapted from our new book Inland and Coastal Navigation, 2nd Edition.
With the bow pointed toward your destination, define the relative current direction as one of the following.
Then assume the correction to make equals the set if none were made.
That is, if you figure you would get set by 15º, then point 15º into the current to track along your desired course. There are several approximations involved here, but we rarely know the details of the current precise enough to justify more analysis.


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The group, who meet on a Monday afternoon has been running for nine years and staff and volunteers are continuously impressed, inspired and touched by the diversity and quality of the artwork produced.
With the freedom to explore their creativity whilst experimenting and expressing themselves through a range of mediums, patients can forget their worries and focus on their true selves.
Making art can be a route to self-expression and can generate communication between people and the Brush with Art Group is always full of conversation, thought, fun and laughter.
The work produced often provides a personal creation of lasting value to its creator, and to their family.
All of the artists are patients and family members who are under the care of Phyllis Tuckwell, a local charity which cares for patients, relatives and carers who are living with a terminal illness such as cancer.
This entry was posted by Niki Hanmer on Thursday, February 1st, 2018 @ 12:30pm and is filed under News. You can skip to the end and leave a response. Pinging is currently not allowed.


Richie has become an iconic figure in rugby since making his Scotland debut in 2010. Now, in 2018 he still continues to play for Scotland 8 years after making his first debut.
Richie's partnership in the second row with his brother Jonny is rapidly developing into one of the strongest in the game. Their mixture of athleticism, work rate and their skill set has made them both invaluable to the Scottish set up.
One of Richie's successes in his career was being part of the victorious Lions team in 2013.
Richie currently plays his club rugby in France for Stade Toulousain, one of the most successful teams in the Northern Hemisphere.


text:
A former Bolshoi dancer is helping young dancers flee Ukraine, one ballet school at a time
"When the war started and we lost everything …" Oksana Zhuravlova trails off, searching for the words to continue. She takes a breath and tries again.
"When the war started, it was like life ended," she says, her voice quavering with emotion. "And when we heard that our daughter Kateryna can go to Germany to study in a really good school, it was like a light at the end of a tunnel. It was the only hope for the future."
Zhuravlova's words come in a rush over a WhatsApp call from Stuttgart, Germany, where she sits on a bed in her 14-year-old daughter's room at the renowned John Cranko School for ballet. Oksana and Kateryna are from Kyiv and recently arrived in Stuttgart after fleeing Ukraine's capital in the face of ongoing Russian bombardment.
To get there, they spent all night and most of a day waiting in a massive queue of refugees at the Hungarian border before finally being allowed to cross.
Oksana says her head is a mess. She can't sleep. Her body and mind ache with worry. She and Kateryna left Kateryna's father and 7-year-old sister in western Ukraine, where Oksana hopes they will be safe. Her parents refused to leave Kyiv and have been sheltering for weeks in their basement. Oksana calls to check in on them constantly — and when she does, she can hear the heart-stopping thunder of explosions in the background.
Now that Oksana has helped Kateryna settle in at her new school, she must make the relentless three-day journey back to Ukraine. Her youngest daughter, Polina, is waiting for her — and taking online ballet classes from her dance teacher, Ksenia Istomina, who chose to remain in Kyiv and teaches daily virtual lessons for kids who can't leave.
Oksana says she is not ready to separate her family, but she must be with Polina. Plus, she notes sadly, there is no line for heading back into Ukraine.
After she safely rejoins her husband, Oksana texts that a friend's home in Kyiv was bombed and the friend's 3-year-old son was killed.
"Big tragedy," she writes. "Children don't have to die."
Kateryna is one of more than 80 young Ukrainian dancers who have found safe haven at prestigious ballet schools throughout Europe with the help of a New York-based nonprofit called Youth America Grand Prix, which has operated the world's largest student ballet scholarship competition since 1999.
A view of Amsterdam.
More than 80 young Ukrainian dancers have found safe haven at prestigious ballet schools, including the Dutch National Ballet Academy in Amsterdam.(Maximilian Mann / For The Times)
Founded by husband and wife duo Gennadi and Larissa Saveliev, former dancers for the Bolshoi Ballet in Moscow, the organization has awarded more than $4.5 million in scholarships to dance schools, and more than 150,000 students have participated in its international workshops and auditions. Young competitors are highly skilled and serious about the art form — often with the goal of building lifelong careers.
Over the years, YAGP has held competitions all over the world, but never in Ukraine. Its first competition in Kyiv was set to take place in early March, and more than 200 young dancers had signed up to take part from all over Eastern Europe, Larissa says in a phone interview. After Russia began its brutal invasion of Ukraine in late February, and it quickly became apparent the event could not take place, Larissa emailed the Ukrainian students to tell them about the cancellation.
She also wrote they should contact YAGP if they needed help finding a ballet school. As the war in Ukraine worsened and waves of refugees flooded out of the country, Larissa says phone calls poured in. Somebody passed along Larissa's cell number, and she began getting calls from kids in the middle of the night. Dancers, usually between the ages of 12 and 18, were arriving at borders in Poland, Hungary and Romania, sometimes with little more than the clothes on their backs, asking where they should go from there.
Larissa and YAGP began working feverishly, often sleeping for only a few hours a night, to secure the kids spots at ballet schools throughout Europe. Once they arranged placement, they would email the acceptance letters, which dancers could pull up on their phones to help their case for getting across the border. Sometimes the young students would leave Ukraine alone. Sometimes they were able to take their mothers, sisters and grandmothers with them.
Free buses operated by border countries helped shuttle the students to their various prearranged destinations, including the Princess Grace Academy in Monaco, State Ballet School, Munich International Ballet School, Zurich Dance Academy, Dutch National Ballet School, Palucca University of Dance Dresden, Basel Theater Ballet School, European School of Ballet in the Netherlands, and Norwegian National Ballet School.
"I have no idea when it's gonna stop," says Larissa, "because the kids keep coming."
To date, Russia's war in Ukraine has resulted in an estimated 3 million refugees fleeing the country, about half of whom are children.
Seventeen-year-old dancer Martin Korol left the northeastern city of Kharkiv alone, carrying only a backpack and 50 euros. Korol's mother could not go with him because she needed to care for her aging parents.
Kharkiv, a thriving, artistic city of 1.5 million, is among the most destroyed urban centers of the war. A picture Korol sent The Times shows him and his girlfriend in a bomb shelter — hands twined like vines, heads pressed close together. An Instagram post he shares shows a town square in rubble after a Russian rocket attack. Twisted metal, broken bricks, toppled statues. It's the center of his city, he writes, near where his parents live.
Korol arrived at the Polish border and called YAGP. He waited for more than 20 hours until he was able to cross. A video he sent shows a chaotic scene with makeshift tents, sausages cooking on a large grill and volunteers in orange vests circulating among the gathered refugees. Korol says one volunteer was very kind, giving him food, water and something sweet to eat.
YAGP secured Korol a spot at Princess Grace Academy in Monaco and helped him navigate a circuitous route — via bus, car and plane — to the seaside haven on the French Riviera. The school's artistic director, Luca Masala, took Korol shopping for clothes and ballet essentials.
"The academy gives me a room, and I can eat with the boys, and I go to the class. Everyone is so kind to me." says Korol during a WhatsApp call. "Now I have a strange feeling, I don't know what will be next. I'm so scared and worried about my family."
Princess Grace Academy has so far welcomed a total of four young Ukrainian dancers, and says it will help more if it can.
Twelve-year-old Sophia Shalala Weatherill is taking classes at a school in central Europe, which asked to remain unnamed for reasons of privacy, after evacuating on one of the last commercial flights leaving Kyiv's Boryspil International Airport two days before the Russian invasion began.
Sophia fled Ukraine with her mother, Nancy Shalala. Both Sophia and Nancy are American but have lived in Kyiv for the past few years while Sophia's father has been working as a humanitarian officer for the United Nations. When the Russian invasion became imminent, Nancy packed their lives into two suitcases and left with Sophia. Her husband relocated to the city of Lviv in western Ukraine, where he is currently working to administer aid to the more than 200,000 refugees who have flocked there in recent days.
Nancy worries as the war has moved westward — a missile strike recently rattled the outskirts of Lviv. She asked her husband if he could work somewhere safer, perhaps in Poland, but she knows the people who need his help the most are inside Ukraine. Her husband has no intention of leaving, and she and Sophia respect his decision.
Before she was a ballet mom, Nancy says, she worked assisting families impacted by war. It feels strange and humbling to now be on the receiving end of that assistance, she says. With YAGP's help, Sophia found a place at a respected school. This gave her family purpose — and a much-needed sense of stability — amid the chaos.
"When you're displaced, you lose your family possessions, your family photos, your journals. All the things that connect you to the past and the people you love," says Nancy, adding that some of her family's closest Ukrainian friends, including Sophia's beloved ballet teacher, chose to remain in Kyiv. The teacher, Zoya Grigorievna, is working closely with YAGP to help young dancers find safe haven.
The last picture Nancy received of Grigorievna shows her hiding away from windows during a bomb scare. She holds her pug under her left arm — her legs under blankets, her posture effortlessly elegant, her kind face drawn and tired.
For Sophia, the ability to dance six days a week also presents an opportunity for her worries to be temporarily assuaged.
"It's a feeling of joy, and it's a feeling of peace," she says over the phone. "It's like my meditation, and when you're working in a studio your mind can't wander, it has to be focused on what you're doing."
"The academy gives me a room, and I can eat with the boys, and I go to the class. Everyone is so kind to me," says Martin Korol, fourth from left, during a WhatsApp call.
At the Dutch National Ballet Academy, three teenage dancers are struggling to understand what they have been through. They are still decompressing from their frantic three-day car journey from Kyiv, over the Romanian border and into the Netherlands.
Sofia Chycha, 15, Maria Bondarenko, 18, and Dimitry Sitnitsky, 17, studied dance in Kyiv before the bombs began raining down. They were terrified to go outside during the day and they were forbidden to go out after 8 p.m. because it was possible to be mistaken for a member of the military.
With great trepidation, the trio escaped Kyiv, along with Chycha's mother and uncle. They drove from Romania, through Hungary and into Slovakia, where their car broke down — a stressful mishap that delayed their arrival in the Netherlands by a day. Larissa Saveliev's niece, Jana van Aalst, is hosting them in her home for now.
"We are really scared and full of emotion," says Bondarenko over a video call, explaining that their fathers can't leave and that her and Sitnitsky's mothers are afraid to go. Their families, she says, are currently hiding in bomb shelters.
The teens have been dancing since they were small. Sitnitsky started when he was 4, Bondarenko at 6 and Chycha when she was 9. It is all they have ever wanted to do. They feared the war would put an end to their dreams by making further dance education impossible.
They do not take the lifeline thrown to them by YAGP and Dutch ballet school lightly. They will dance for their families, they say, and for a brighter future when they can once again go home.
Kyiv, says Oksana, is particularly beautiful in the spring.


text:
« Previous Page Table of Contents Next Page »
[Page 13 – English] [Page 17 – Hebrew] [Page 37 – Yiddish]
A Town Between Two Rivers
By M. Sh. Geshuri
The history of the Polish Jewry is written in the books of the communities, cut on the tombstones in the ancient cemeteries, folded into the buildings of old synagogues and other ruins of old. Ostrowiec too had its books which contained important details of the Kehilla's story. In former times, the Jewish communities used to note in the community-books or in the Hevra-Kadisha books every important occurrence of public character. Also the welfare societies used to have their own books, and all the various happenings used to be noted duly by the many societies, each one selecting the kind of 'stories' which were in line with its specific work. Out of the Ostrowiec books, before they disappeared without trace, people managed to copy some details. The few persons who read it, recall several important facts of the origins of the Ostrowiec Jewry.
The first date saved from oblivion is the year 1713 (5474). That year Ostrowiec was rebuilt after a fire which destroyed the town, of which only the beth-hamidrash and the old synagogue remained standing. The few Jews who were then citizens of Ostrowiec, purchased from Count Wielopolski the lower part of the town in order to build there a 'mikve'. The wooden synagogue was renovated by 3 Jews: Reb Herzke, Reb Shimon ben-Arahon Daft and Reb Yehezkel from Krakov – who was the artist who carved the Ark of Covenant.
The first to be built in every community
[Page 14 – English]
The market place of Ostrowiec, crowded with Jewish merchants,
at the beginning of the century
was the synagogue. The age of the first synagogue of Ostrowiec is controversial. Some say it was built in 1560, 36 years after the establishment of the town; others maintain that it was built in 1610, some 360 years ago. The first Jews were not rich, and could not afford to build a stone building – they made a go with a wooden structure. Therefore was the synagogue amongst the buildings which were damaged in the fire of 1713 and required renovation of its front.
Like in other towns and townlets, also in Ostrowiec, the synagogue formed a spiritual and public center for its Jews. For long years, this was the only place where the Jews could and did unburden their hearts before their Father in heaven in prayer and request – in times of affliction, or in thanksgiving and blessing in times of well being. At the synagogue they studied the Torah, listed to preachings and sermons and held their assemblies. As was usual elsewhere, they erected the synagogue on an elevation, put in many windows, and endeavoured to decorate ad to embellish it with art, especially the eastern wall of it, which faces Jerusalem. The elders of the town had a story according to which the renovation was not completed; the painter who decorated the ceiling fell off the scaffolding and was killed on the spot. His death saddened the Ostrowiec people. The ceiling was not completed and the synagogue remained unfinished. The
death of the painter was veiled in many legends during the intervening ages.
Except for the old synagogue, which preserved its style and planning as from the unknown date of its renovation, there is no other link with the early generations of the Jewish population of Ostrowiec, as if it never existed. This originated the belief amidst the elders of Ostrowiec that the early generation of the local Jewry' do not rest in peace'. They err and wander amongst the living looking for absolution and memorial services – in the old synagogue. Legends were told in Ostrowiec of midnight meetings of the 'restless souls' at the synagogue.
The legend went on like this: at midnight, the dead leave their graves, and assemble at the empty, closed synagogue. There they pray, as no progeny of theirs is left to say prayers for them. Solemnly they take out the Holy Book and read in it tremulously, they ascend one by one to the Torah and perform a remembrance service for their own souls. The windows of the synagogue are
The market place, without Jews, after the Holocaust
Near the well in the town market place
Dark and closed, but tiny sparks of light dance about them, while gleams of fire issue into the dark. The Synagogue's doors are locked, but the lament of an autumn night, rainy and weeping. The Ostrowiec Jews knew the meaning of the weeping sounds and nobody dared pass near there in the night.
One man lived in town who didn't know fear, and used to walk all alone – everywhere – the grave-digger. With his worn face, darkly coloured, with his outsized limbs and his strange gait – he look like a walking skeleton. He resembled one of those ghosts or devils which wander in the universe and cannot find rest. But even he did not go near the synagogue between midnight and sunrise. Because everyone passing there at the time of the Torah-reading by the dead – would at once be called to the Torah by his name and his patronymic. Once, whether out of need or out of forgetfulness, the grave-digger passed the synagogue before the cock's crow, and when he was just nearing the Eastern wall of it, he suddenly heard clearly 'stop!' … and his name and patronymic reaching him from the inside of the synagogue. He stopped dead, and even before he could utter 'Shma Israel' and move on, he was standing on the podium and the Torah lay open in front of him, while the 'hand' indicates the paragraph of that week. On his right and left, behind and before him, groups of silhouettes clad in praying shawls (talit) and shrouds – intent and keen on listening to the blessing of the Torah. The grave-digger's teeth rattled and his whole body shook with fright. But he stammers and stutters and reads the blessing, in holy terror, from the first to the last. Soon the trial will be over and he may leave in peace. But just when he wanted to leave, somehow he got confused, or perhaps in his desire to leave quickly and shorten the way, he turned to the left instead of the right. The dead wanted to help him and showed with the ends of their white 'talitot': 'to the right, this way'. However, the grave-digger could not grasp their hints and allusions; terrified out of his wits, he slipped and fell. On the morrow, the synagogue-attendant found him lying on the steps of the podium…
The second building erected by the community from the very outset was the cemetery. The elders would relate that there was even before an old cemetery on the way to Balatov. The cemetery, the plot for which was donated by the lords
The synagogue of Ostrowiec. Next to it the roof of the old synagogue.
In front – the Mikve building
of the town, was originally surrounded with a wooden fence. On every Ninth of Ab, a certain Jew named Abraham'le Fishl Paltiel's, would take a walk there to bewail the destruction of Jerusalem. Ancient tombstones stood there, the inscriptions thereon very hard to decipher, for many ages had passed over them. Due to this cemetery an important fact of the town's history was revealed to us: the name of the first Rabbi of the town, but apart from his name and the year of his decease, nothing else was revealed to us.
The Ostrowiec Jews were proud that their cemetery was located in the centre of the town and looked like a lovely garden. Indeed the cemetery did not frighten he Jews of the town, who felt familiar with it and even took pride in the cemetery being well looked after.
Many righteous people and grand rabbis found their last rest in the Ostrowiec cemetery.
The Period of Killing and Annihilation
There is no doubt that from the very first days of the Ostrowiec community,
Cheder in the ghetto
It had its judges and rabbis and leaders, who looked after the Jewish needs. But until the Gaon of Ostrowiec, the community did not have a great rabbi of the kind of Harama, Hamaharshal, Habakh and similar ones. Of course, Ostrowiec had its learned men, whose influence transcended the limits of the town. Perhaps the town did not have its own rabbis in the first period, but it got settled from the economic point of view; it therefore participated in the upkeep of the Rabbis who resided in one of the neighbouring towns, as the expense of maintaining a rabbi of a town was considerable, and above the means of a young town. But surely after the town got settled from the economic point of view, it had its own rabbis, whose names are unknown to us, but they left their traces in the manner in which they took care of their flock.
In the riots of the years 1648/9 and thereafter, the financial situation of the Polish Jews deteriorated gradually. Their political standing suffered even before that, for various reasons, one of which was the enmity of the burghers to Jews – which enmity was less felt in Ostrowiec than elsewhere, because there did not exist in Ostrowiec any Christian craftsmen or shopkeepers who elsewhere saw in their Jewish counterparts serious competitors and usurpers of their livelihood.
It is difficult to ascertain the number of communities destroyed and people killed in the holocaust of 1648/9. The 'Gaon', Rabbi Shabetai Cohen registered over
300 communities destroyed and over one hundred thousand souls killed. According to another source, 744 communities were annihilated and 650,000 Jews murdered. Chmielnicki's columns did not reach Ostrowiec, but there is no doubt that the panic that befell the Polish Jews, did not fail to reach also the Ostrowiec Jews. They were terrified of staying so close to Cmielnicki (he reached Lublin) and they joined the other refugees who were seeking safer places of refuge.
One hundred years after the riots of 1648/9, the Swedish-Polish War raged in Poland, not claiming any considerable Jewish victims. In the town Cmielow, in the vicinity of Ostrowiec, many noble Polish families which came to hide there, were killed. The Jewish community of Cmielow was connected with the Apt community. Thus the difficult period of Poland's history with its wars and unrest came to the very gates of Ostrowiec, but we do not know anything about the fate of the town and its Jews.
Likewise, the second Swedish War with Po-
The preparatory class of the "Beth Yosef" Yeshive
land raged rather near to Ostrowiec. The Saxon army camped near Pinczow, while at Kaliszow the Swedes beat the Polish army. For a long time the Jews used to recall the looting and the atrocities of the Saxon soldiers, who outshone the Swedes in their cruelty.
The Growing Ostrowiec Jewry
With the growing numbers of Jews in Ostrowiec, the synagogue became too small, to admit all the praying. A t that time the big beth-hamidrash was built near the synagogue, remaining as a sole relic after the big conflagration. Although the two building were adjacent, they differed widely from one another. At the entrance to the old beth-hamidrash, into its wall was sunk iron rings or penal chains (Yiddish: 'Kune') into which the neck and the hands of the criminal were inserted, so that every passer-by could spit at his face. This was one of the punishments the community would inflict on trespassers and defilers of the name of Israel, thieves or those who infringed on religion and morals, those who did not pay their lease or failed to obey the leaders of the community. Sometimes also monetary fines were imposed, varying in size. The most serious punishment was boycott and it was used only in grave cases when the community had to defend itself against traitors, fakes, renegades or people endangering the community's life. Some distance away from the 'Kune', near the cupboard with 'The Shemot' there was the big board used for purification of the deceased. This board was the object
The Ostrovtser Rabbi in his last years
The "Yavne" School
of fright of all those who passed along, especially in winter nights, when people walked along (on their way to pray or read) with lamps in their hands. However the beth-hamidrash was an open house to all the Jews. The cupboards and the shelves were full of books up to the ceiling. Tables and long benches filled the roomy hall. Near the entrance there was a big stove, and at the sink, -- a big bronze bowl, to perform ablution.
There is a story that in this old beth-hamidrash studied the young Rabbi Israel, the son of the book-binder Rabbi Shabetai of Apt, who later became famous in the Jewish world as the Magid from Korzenic.
The beth-hamidrash was always packed with praying and learning Jews. At the tables, heavy with books, sat people studying or reading aloud and with enthusiasm.
Across from the old beth-hamidrash there stood the new beth-hamidrash, where a somewhat better order prevailed; there were less books and less noise. There the religious Jews used to assemble – the aristocratic Hassidim. A few steps below, in the common corridor, the little beth-hamidrash was situated,
The religious school or girls "Beth Yaacov"
Where the artisans and the half-way modern youths prayed. They would pray here both on Saturday and on other holidays, very early in the morning, so that enough free time was left to enjoy the present day life too.
Before sunrise, summer and winter, young men hurried to the beth-hamidrash from all lanes and paths, carrying flashlights to light their way. Soon the beth-hamidrash was crowded. Boys would sit round the tables, and study, each one intoning in his own manner, but tuning into the one great general symphony. Sometimes you could hear the voices far into the night. At the Eastern wall the rabbi would sit, right at the head of the first table – teaching the young pupils and explaining questions and serious problems. The place was always open. The locks of the doors became rusty with disuse; day and night, in heat and cold, the doors were always open wide for local people as well as for strangers who came to pray or to learn, or to rest from heat of the summer, or the cold of the winter. Merchants and peddlers would seek there some rest from the noise of the market in the house of the Torah.
At the little beth-hamidrash was housed the Talmud-Torah where the old fashioned 'Melamed' used to teach the children of the poor the elementary knowledge of the Jewish prayers and a bit of the Pentateuch – all this was gratuitous, while the assistant of the 'Melamed' used to go every Friday to the house-owners of the town and collect the expenses of teaching the children of the poor.
The Jews of Ostrowiec prevented their children from partaking of the general education. The "Heder" was the main educational institution of their sons. They neither learned the language of the Russian Government nor did they even know much language of the Polish people in whose midst they lived and traded. The daughters stayed at home, helping mother in housework; the Melamed would teach them some blessings and prayers, a little spelling, and that was about all. Come of age, they would marry, bear children and in their turn become housewives.
Group of members of "B'noth Agudath Israel". Three only have survived
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Updated 26 Feb 2021 by LA


text:
Q: Count a specific string in a multiline textbox (VB.Net) I very much want to count the values in a multiline textbox each time each value appears in descending order> in ascending order. I tried a lot but nothing works as it should. (VB.Net)
Textbox1.Lines
2
3
2
2
4
7
7
7
28
28

Expected Output: Textbox2.Lines

2 = Count = 3
7 = Count = 3
28 = Count = 2
3 = Count = 1
4 = Count = 1

What i try and dind't worked.
#1
    Public Function CountCharacter(ByVal value As String, ByVal ch As Char) As Integer
      Dim cnt As Integer = 0
      For Each c As Char In value
        If c = ch Then
          cnt += 1
        End If
      Next
      Return cnt
    End Function

#2
    Dim a As String = "this is test"
    Dim pattern As String = "t"
    Dim ex As New System.Text.RegularExpressions.Regex(pattern)
    Dim m As System.Text.RegularExpressions.MatchCollection
    m = ex.Matches(a)
    MsgBox(m.Count.ToString())

#3
        Public Shared Function StrCounter(str As String, CountStr As String) As Integer
            Dim Ctr As Integer = 0
            Dim Ptr As Integer = 1
            While InStr(Ptr, str, CountStr) > 0
                Ptr = InStr(Ptr, str, CountStr) + Len(CountStr)
                Ctr += 1
            End While
            Return Ctr
        End Function

A: You need to remember which strings have already appeared and then count them. To do that, you can use a dictionary.
    Dim dict_strCount As Dictionary(Of String, Integer) = New Dictionary(Of String, Integer)()

    ' Run over each line in the input
    For Each line As String In tb_yourTextBox.Text.Lines
        ' Check if we have already counted the string in this line
        If dict_strCount.ContainsKey(line) Then
            dict_strCount(line) += 1 ' if so, increment that count
        Else
            dict_strCount.Add(line, 1) ' if not, add it to the dictionary (with count of 1)
        End If
    Next

    tb_yourOutputTextBox.Text = String.Empty ' clear the output

    ' run over all the elements in the dictionary in ascending order by value
    ' and output to the output textbox
    For Each kvp As KeyValuePair(Of String, Integer) In dict_strCount.OrderBy(Function(x) x.Value)
        tb_yourOutputTextBox.Text += kvp.Key & ": " & kvp.Value.ToString() & vbNewLine
    Next

You may test it here

redpajama_set_name: RedPajamaStackExchange


Using the dirty Louisville Cardinal logo is unacceptable.
Thanks for looking into this egregious slight. The St Louis Cardinals have a fairly large following inside the SEC footprint.
Those are next on the list. Probably won't be for a while but I'll see what I can do.
I support kilo in his quest to not be a Line Beard!
Does anyone really want the Sewanee logo? I get Delta State. Sewanee is a liberal arts school. We'd might as well do SCAD next.
I support the Cards. And thanks for working on that Delta State thing.
Does anyone really want the Sewanee logo?
We'd might as well do SCAD next.
I figure you are trolling or just don't realized the history of Sewanee woven into the history of the SEC.
Sewanee is gay and for spoiled hipster kids. I give zero fricks about their history. SCAD has a higher enrollment and larger appeal. Add SCAD.


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I want to have a site where applicants can apply to sign up, their details can be scraped from their documents and theycan either be accepted or denied access to the backend. Clients can sign up and request the services of the applicants. Payment must be processed digitally on the site much like uber.
Hello can we discuss in details as i understand you required portal let me know so we can clear things and get move on.


text:
Som boblerne i bækken er det sidste studiealbum af den danske rocksanger Peter Belli. Det udkom den 18. november 2016 på REO Records og Universal Music. Albummet består af fortolkninger af danske sange. Titlen er taget fra et vers i Emil Aarestrups digt Angst, som Peter Belli også fortolker på albummet. Albummet er sidste del i en trilogi der også består af Når timerne bli'r små (2004) og Sange fra blomstersengen (2005).

Spor

Noter
"Kongens Have" er en dansk oversættelse af Tim Christensen's "King's Garden" (2000).

Medvirkende
Marcus Winther-John – producer, arrangement, akustisk guitar, kor
Lars Skjærbæk – producer, arrangement, elektrisk guitar, akustisk guitar, dobro, e-bow, kor, percussion, co-lead vokal ("Jeg har ikke lyst til at dø")
Martin Jønsson – producer, arrangement, flygel, tangenter, klokkespil, kor, assisterende engineer
Søren Mikkelsen – producer, arrangement, indspilning, mixer, mastering, percussion, keyboards, trommer
Poul Martin Bonde – producer, arrangement, executive producer, co-lead vokal ("Jeg har ikke lyst til at dø"), kor ("Du kan gøre hvad du vil")
Peter Belli – vokal
Lars Lilholt – violin, vokal ("For at tænde lys")
Mads Tønder – indspilning ("For at tænde lys")
Søren Zahle – indspilning ("For at tænde lys")
Terkel Møhl – kontrabas, kor ("Nordhavns Station")
Anders Ramhede – tromme, tambourin, kor ("Nordhavns Station")
Johan Olsen – kor ("Nordhavns Station")
Niklas Schneidermann – akustisk guitar, kor ("Nordhavns Station")
Jens Ove Friis – label executive

Hitliste

Referencer

Eksterne henvisninger

Album fra 2016


text:
Q: No valid Qt versions found Qt Creator is complaining about

No valid Qt versions found

when I try and make a new project. It also says

Please add a Qt version in Tools/Options or via the maintenance tool of the SDK

When I go to tools/Options, it says:

Qt 4.8.1 in PATH (System) /usr/bin/qmake-qt4

But there's a red sign by it with an exclamation mark.
I have looked on Google but there's no solution that works for me. I installed Qt Creator and the SDK, and have build-essentials.

A: I think problem is, you need to update toolchain with your Qt version.
Qt Creator won't recognize any Qt version

A: Turns out the path to gcc was wrong


Buy tickets for an upcoming Kaiser Chiefs concert near you. List of all Kaiser Chiefs tickets and tour dates Directed by Paul Katis. With David Elliot, Mark Stanley, Scott Kyle, Benjamin O Mahony. Kajaki Dam 2006. A company of young British soldiers encounter an unexpected. The discography of Kaiser Chiefs, a British indie rock band, consists of six studio albums, one Edit links. This page was last edited on 1 May 2017, at 08:59. Survival China Travel Tips and Tricks. These China Travel Tips, Survival Techniques, will help you get around and make your trip to China easier Get Kaiser Chiefs setlists - view them, share them, discuss them with other Kaiser Chiefs fans for free on setlist.fm! Kaiser Chiefs at SanSan Festival.
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An architect's rendering of the how the $31 million expansion project will change the landscape at Tanglewood.
Audiences have flocked to the Berkshires for Boston Symphony Orchestra's summertime concerts since 1936, when the musicians offered a three-concert series, under the baton of then-music director Serge Koussevitzky, in a large tent at Holmwood, a storied estate in Lenox.
That first series, which would ultimately morph into the world-renowned Tanglewood Music Festival, was attended by nearly 15,000 people.
Then, in 1937, when the festival presented its first concert at Tanglewood, a gift to the BSO from the Tappan family estate, it drew the largest crowd to ever assemble under a tent, for an all-Beethoven program.
And the love affair has continued.
Last year, 350,000 guests visited the venerable annual music festival in Lenox, which offers weekly summer concerts by the BSO, performances by the Boston Pops and Tanglewood Music Center orchestras, as well as a lineup of famed guest artists in classical, contemporary, and popular music. That number has grown significantly over the past decade, and has remained fairly constant for the past five years, or so, said Anthony Fogg, the BSO's artistic administrator and director of Tanglewood.
"It is a reflection of increasing, renewed interest in the great music that we're offering," Fogg told BusinessWest.
In response to these growing demands, the BSO in February announced a $30 million expansion of its music festival's facilities and 524 acres campus in Lenox. The new complex will include a state-of-the-art, four-building complex designed to support performance and rehearsal activities at the Tanglewood Music Center (TMC), and to serve as the home of the new Tanglewood Learning Institute (TLI).
The new buildings will supplement the music festival's main performance spaces — the 5,700-seat Serge Koussevitzky Music Shed, built in 1938, and the 1,200-seat Seiji Ozawa Hall, named for BSO's former, long-time music director (1973-2002), built in 1984.
"We're very much viewing this as a long-term investment in classical music as an art form, which is essential to our lives," Fogg said in a recent interview.
The new building complex, scheduled to open in spring 2019, has been designed by William Rawn Associates, led by William Rawn and Cliff Gayley. It will be located at the top of the lawn leading down to Ozawa Hall, which was also designed by the architectural firm. The new facilities will be climate-controlled, which Fogg says will offer an opportunity for members of the larger community to use the space during the off-season, for such things as conferences, celebrations, and musical performances.
The expansion is part of a multi-year fund-raising effort, which has received donations from private and corporate donors, which Fogg declined to name at this time, saying Tanglewood will make a formal announcement about fund-raising sometime this summer.
To date, enough money has been raised to cover the cost of building the complex itself, but further funds will ensure there is a well-funded endowment to cover future operating expenses and programming, he noted, adding that the ultimate fund-raising goal is in the neighborhood of $40 million.
At the heart of the four-building project will be Studio 1, a 200-seat concert space designed with Tanglewood's signature setting in mind. The festival's iconic, 100-foot-tall red oak tree and the landscape beyond will be visible through a wall of glass that measures 30 feet high by 50 feet wide, and which will serve as an expansive backdrop to the stage. A 50-foot-wide retractable glass wall, also part of the design, will open directly out to a porch and the surroundings.
Studios 2 and 3 will offer rehearsal and performance space for small and medium-sized ensembles, and can accommodate audiences of 60 and 40, respectively. For flexibility, Fogg said, all the spaces can quickly and easily convert from one use to another.
A 150-seat café housed in the complex will become a hub for visitors, TMC fellows and faculty, TLI participants, and performing artists, and a place where visitors and musicians can interact.
Among the beneficiaries of the new space will be the Tanglewood Music Center, a world-renowned summer institute created in 1940 by Koussevitzky to further the tradition of classical music, and to serve as an American center for advanced musical study for young professional instrumentalists, singers, composers, and conductors. About 1,500 musicians compete annually for roughly 150 positions, and those who are accepted receive fellowships that cover tuition, room, and board. Leonard Bernstein, Lukas Foss, and Sarah Caldwell were among its first students.
But, frankly, Fogg said, space has become a problem for the program and its participants.
The new facility will address those and other needs by providing significantly more rehearsal and performance space for the TMC, and will enhance, support, and streamline activities to assure that Tanglewood continues to attract the most competitive class of fellows.
The new complex will also be home to Tanglewood Learning Center, which will offer all-new programming designed to provide the festival's patrons with an array of educational and enrichment experiences that encourage a closer connection between artists and audiences, including seminars and panel discussions, film presentations, conversations with artists, and access to special concerts and master classes.
Special offerings will include a 'passport program,' which will allow subscribers access to BSO and TMC closed rehearsals, TMC master classes, and backstage visits with musicians, guest artists, and conductors, among other activities.
The new buildings will be the first year-round structures at Tanglewood, with both heating and air-conditioning, and have been designed with an eye toward sustainability.
An architect's rendering of one of the new facilities at Tanglewood.
To that end, natural ventilation and abundant day lighting are designed to minimize energy use. Other notable sustainable features include rainwater harvesting for irrigation; high-efficiency mechanical systems with low-velocity ductwork, meeting acoustic requirements; efficient LED theatrical lighting; water-saving plumbing fixtures; red-cedar cladding harvested from renewable sources; and recyclable zinc roofing.
In addition to the buildings, a new horticultural initiative, designed by landscape architects at Reed Hilderbrand, will revitalize and strengthen Tanglewood's bucolic landscape, with the planting of 144 trees, improvements to stormwater-management systems and pedestrian walkways, and the restoration of views of the 372-acre Lake Mahkeenac, also known as the Stockbridge Bowl. A new horticultural-stewardship program will create and implement uniform strategies for documenting, maintaining, preserving, and enhancing Tanglewood's horticultural assets.
A groundbreaking ceremony will take place later this summer, at a date to be announced. Organizers hope Tanglewood luminaries will be on hand, and are in the process of trying to accommodate the hectic schedules of some of its artistic principals, including BSO's music director, Andris Nelsons; Boston Pops conductor Keith Lockhart; and the Pops' conductor laureate, John Williams.
Thus begins the start of a new chapter in the history of one of the region's great destinations — and a summer home for music lovers of all ages.


← INCONVENIENT : Arctic Sea Ice Extent Enters The Mean Zone!
WRONG !! People are going to die as a result of the waste, stupidity and ignorance involved in the desire to reduce that essential, life giving gas CO2.
The basic facts are being carefully hidden from the public.
Very few people know what it is ,that man is doing that is being blamed for the warming.
Just ask a few people; you`ll soon find out how little they know.
The media have a lot to answer for .


As part of its suite of offerings Creative Cognicion provides personalised workplace coaching for both groups and individuals. We work with clients to assess need and co-design outcome driven interventions to meet these needs.
Clients are assisted in the exploration and understanding of both complex workplace issues and interpersonal challenges. This includes helping our clients to understand the underlying emotional, cognitive and interpersonal issues that impact on their thinking and performance.
We also assist in applying a range of thinking and problem solving techniques that empower clients to see and incorporate multiple perspectives and develop innovative action oriented solutions. A perfect example of how this might work was over a yum cha lunch as featured in another blog post. A real life problem was identified, issues worked through and different techniques applied to help the client develop innovative solutions. Furthermore, it was undertaken in a setting other then the workplace which served to stimulate the thinking and subsequent solution development.
The workplace coaching service is offered to developing leaders both in an ongoing capacity and at more critical times in their working and personal lives. This has been successful in working with clients in health services, police and internationally including in times of change, transition and personal development.
This entry was posted in Uncategorized and tagged coaching, cognitive, complexity, creative, innovate, leadership, perspectives, problem solving, thinking. Bookmark the permalink.


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The Candy Snatchers és una pel·lícula estatunidenca dirigida per Guerdon Trueblood, estrenada el 1973. La cançó Money Is the Root of All Happiness (Els diners són la base de la felicitat) va ser composta per Steve Singer i Dennis Jay Stewart. Vince Martorano, que interpreta el paper d'Eddy, era el millor amic del cineasta quan estudiaven tots dos a la Universitat George Washington. El petit noi mut, és interpretat pel fill del director.

Argument
Candy Philips de 16 anys (Susan Sennet, dona del cantant Graham Nash de Crosby, Stills and Nash) és brutalment segrestada i enterrada viva als turons de Califòrnia del Sud per un trio de criminals afeccionats que esperaven un rescat. Quan el padrastre de Candy (Ben Piazza) no es presenta a la cita, veient una oportunitat de desfer-se de la petita hereva i silencia el cas, el ros del trio - Jessie (Model de Playboy i 70 estrella de films de la sèrie B dels 70, Tiffany Bolling), el seu germà sàdic Alan (Brad David) i el veterinari inadaptat de l'exèrcit inadaptat Eddy (Vincent Martorano)—comencen a estar ansiosos. La paranoia comença; els segrestadors temen que el seu meticulós pla s'està esfondrant i comencen una descendent espiral a la depravació, mutilació i assassinat, amb Candy indefensa atrapada al mig.

Repartiment
 Tiffany Bolling: Jessie
 Ben Piazza: Avery
 Susan Sennett: Candy
 Brad David: Alan
 Vince Martorano: Eddy
 Bonnie Boland: Audrey
 Jerry Butts: Dudley
 Leon Charles: Boss
 Dolores Dorn: Katherine
 Phyllis Major: Lisa
 Bill Woodard: Charlie
 Christopher Trueblood: Sean Newton

Al voltant de la pel·lícula
 La cançó Money Is the Root of All Happiness (Els diners són la base de la felicitat) va ser composta per Steve Singer i Dennis Jay Stewart.
 Vince Martorano, que interpreta aquí el paper d'Eddy, era el millor amic del cineasta quan estudiaven tots dos a la Universitat George Washington. El petit noi mut, és interpretat pel fill del director.

Enllaços externs
 Critica DevilDead
 A my Sofa
 A adictos al cine

Pel·lícules dels Estats Units del 1973
Pel·lícules de terror dels Estats Units
Thrillers dels Estats Units


Ask A Rapper: For the past few weeks, everyone has been going yo-yo for Ricky Ross's "B.M.F." beat. Remixes have popped up all over. You really don't even have to look outside of Houston to find any. Bun did it. Trae did. Lil Flip did it. Lil' Ray did it. So here's the question, rapper/producer: Name your five favorite "Oh, Man, I Have To Make My Own Version Of This Song" tracks and why.
Extra credit if you don't include Wayne's "A Milli." Double extra credit if you can name a Houston artist who did a remix of the song that you pocked.
1. The Isley Brothers, "Between the Sheets"
Sammus says: Production-wise, [it's] one of the smoothest, sexiest pieces of music I've ever heard. I melt and clutch my pearls every time I hear it, no matter who's rapping over it.
Rappers Who Have Hijacked It: Gwen Stefani with Slim Thug ("Luxurious"), Notorious B.I.G., Jay-Z, J. Cole, Drake, Lupe Fiasco, Royce Da 5'9.
2. Kid Cudi, "Day and Night"
Sammus says: The beat and hook [from M.I.A.'s "Paper Planes"] are undisputably gripping, whether placed under M.I.A.'s sing-songy hypnotic rapping or mashed up with the funk of DFA. Nuff said.
4. Jim Jones, "We Fly High"
Sammus says: I'm not a big fan of Jim Jones, but [the original] (and its complementary hand motion) are catchy, and every artist I've heard killed his remix.
Sammus says: I love the original song, but I'm particularly drawn to the various remixes because I love hearing what kinds of things rappers feel need to be thrown on that B, or what words can be put to the rhyme scheme: "Oh-some-ee." Blow some weed, for example.


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Mar 8 {Review} Gentlemen Prefer Nerds by Joan Kilby
I should've listened to my instincts that a book titled, Gentlemen Prefer Nerds wouldn't work for me.
However, I was compelled to hit the "request" button on Net Galley when I saw that,
It was published by Carina Press, the massively cool e-publisher that's doing a lot of creative things both in what they're publishing and their marketing and DRM-free books;
It promised a heist/caper sort of scenario and I am a giant sucker for heists and/or capers; and
It's set in Australia.
Unfortunately, those positives didn't cancel out the numerous problems I had with the premise and characters in this novel.
The basic plot of Gentlemen Prefer Nerds is that nerdy (more on that later) girl gemologist Maddie Maloney is charged with caring for a pricey diamond known as The Rose (she also discovered the diamond in a mine in Western Australia). As part of her effort to find a nice man, she ends up being conned by a jewel thief known as The Chameleon into allowing him access to the stone, which is then—shocker!—stolen. Maddie is, obviously, suspected for the crime and winds up hooking up with a mysterious English dude who promises to help her recover the diamond and helps her escape from the police while they pursue the thief.
Okay, so the premise is pretty silly—but I'm often okay with silly premises!
However, in the case of this novel, the silly premise wasn't the problem—it was the two main characters.
I never bought Maddie Maloney as a nerd (which kind of wrecks the entire premise of the book). Yes, she wears glasses. Yes, we're told she's smart and well-educated. But, all of her nerdiness seems to be wrapped up in the fact that she's a terrible dresser and wears glasses and is clumsy and awkward.
Grace picked a speck of lint off Maddie's pink sleeve. "Where did you get this awful jacket? Look at those wide lapels!" "It was Mum's. I love it. It goes perfectly with my outfit." She smoothed the hem on the patterned sweater vest she wore beneath the jacket and over a flowered dress.
I am completely nerdy. I got great grades all through school, have a graduate degree and I wear glasses. With that said, I am also a decent dresser (the early descriptions of Maddie make her sound like a bag lady, not a nerd girl) and know how to not act like a complete nitwit in public. To me, Kilby's portrayal of Maddie as nerdy felt like a stereotype and far, far removed from reality.
Fabian (that name!) is an over-the-top, English soon-to-be Lord (yes, a Lord… ugh) who created a phoney 007-type ruse to convince Maddie (and her family) that he's legit. He orchestrates Maddie's transformation from poorly dressed nerd girl to sexpot (including having her hair dyed red—because everyone knows redheads are more alluring than brunettes*). Anyway, Maddie thinks he's a hottie, but I found him to be essentially a know-it-all control freak. Granted, he can leap into a helicopter while holding a squirming cat, but that's pretty much the most appealing of Fabian's qualities.
As you'd expect, Fabian discovers that inner beauty is important and that clothes don't make the girl, but I never really believed it him when he made statements like this about Maddie,
"She has enormous self-confidence, intelligence and a generous spirit," Fabian went on. "Inner beauty is far more important than superficialities."
(Also, who talks like that?)
As far as Fabian's weirdness about Maddie's (supposed) nerdiness goes, I have a message from the great John Green:
Ultimately I just didn't buy it—there just wasn't enough fun, chemistry or tension to motivate me to suspend my disbelief and enjoy Maddie and Fabian's quest to find the lost diamond. Fabian seemed like a shallow clotheshorse who was far too preoccupied with women's fashion. And, I never really bought his sincere interest in Maddie—I just couldn't get to the point where I believed that he'd actually transformed from using Maddie to caring about her. And, the "nerd" stereotype didn't work for me—I had really hoped this would be more nuanced, positive portrayal of nerd girls.
I feel badly giving Gentlemen Prefer Nerds a "No, Thank You" rating, because I think there is an audience for it.
Folks who are looking for a light, PG-13ish romance (though there is a condomless—arg!—short sex scene in the novel) that has a fun caper feel should really enjoy this book. The gemology aspects of this novel were quite fascinating (and seemed well-researched) and I did enjoy the witty tone present in the early chapters of the novel, but ultimately it simply fell flat.
Verdict: No, Thank You (but that doesn't mean you won't enjoy it)
{Buy This Book}
Awesome animated John Green gif via Epic John Green Quotes.
Note: Carina Press provided me with a review copy of this book via Net Galley. I did not receive compensation or any sort of "goodies" in exchange for this review. Gentlemen Prefer Nerds by Joan Kilby releases on March 12, 2012.
*Sarcasm folks, sarcasm.
3rd Person POV, Australia, Carina Press, Ebooks, Heists and Capers, Joan Kilby, Nerds, No Thank You
Mar 10 {I Love} The Fault in Our Stars by John Green
Mar 7 {List-O-Rama} Five Dealbreakers
Mar 14 {Review} The Shadow Reader by Sandy Williams
Mar 19 {Review} Tomorrow Land by Mari Mancusi
Nov 12 Review: All He Ever Desired by Shannon Stacey


Reaching through The Knot Hole to past moments in time . . . Taryn always wondered about how realistic her mothers' tales were that she was told. They seemed like fantastic, creative and fun adventures. Now with Taryn's mother gone, she will realize that her mother wasn't just telling stories . . . she was really living them. Time has passed and Taryn has uncovered the power of The Knot Hole and the travels that await her. The Crossing Series: The Knot Hole, The Passage and The Muse will take you on a romantic journey from many years past to the present. Some souls will return as they have come back in time to keep their love alive. There are many exciting ventures for Taryn both in her own mind and soul. She will learn many elements of love and have guidance along the way. What she never thought she would find in an adventure was true love. Silas is the one who touched her from a past time period. He is truly unforgettable. Will Taryn have a second chance to be with Silas in her present lifetime?
Many of us have wondered what it would be like to travel in time...what if you had that chance? Well in The Knot Hole, the character Taryn is given that opportunity several times and each time she returns with not only a mental picture of her travels but a surprise within her hands, You will have to read The Crossing Series - beginning with The Knot Hole to see where her timeless romantic adventures take her and what she brings back each time she returns to her present life.
She closed the door and pulled the ottoman up to her chair. Since her last adventure had lasted an hour and a half, she decided not to curl up on her legs again. She didn't want to give them a chance to fall asleep and call her back too soon. She settled comfortably into the chair, propped her legs on the ottoman and closed her eyes. She let her mind wander free as she unconsciously sipped her iced tea. It went from one thing to another and seemed to finally settle on her new painting.
Taryn opened her eyes and looked at the painting, finding no enjoyment or happiness in looking at it. There was just this sense of vague haunting . . . What? Thought? . . . Feeling? It was subtly unsettling.
She placed the glass of tea on the table next to her, rested her arms on the chair's arms and placed her hands in her lap. She looked toward the dream spot to find it was already turning slowly in its counter clockwise motion. She concentrated on the spot and lost herself in its movement. She heard the gentle whiling sound again and felt the touch of it to her body. She felt a gentle rotating sensation and her body seemed to float free of the chair. She became aware that she was feeling rather cool as the revolving sensations traveled within her body slowed down. From the earlier heat of the day, this chill she felt was definitely welcomed at this moment.
The spinning and floating stopped and she felt colder. Cold to the bone, almost like she'd been chilled forever. But she wasn't freezing. It was more like she was always cold and it was a natural state for her. She also felt as though she was kneeling, since her knees hurt as they rested on something very hard and cold. She slowly opened her eyes and found herself looking at religious artifacts on the walls before her. She looked way up on the wall in front of her to discover very tiny windows where bright sunlight filtered down to her through heavy dust motes.
Taryn lowered her eyes. She was kneeling before a stone altar of some kind. Very solid and very cold. She wasn't touching the stone altar, since her body was almost rigidly held in place . . . held rigid by her own spine . . . and long hours of self-discipline, she thought.
She lowered her eyes further and saw her lower body completely covered in a very coarse, dark material. Blue? Black? Brown? Combined with the poor light and probably faded colors, she couldn't be sure. She held a rope of brown beads in her hands which were long and laced around her neck. A crude handmade wooden cross, unpolished and unpainted, was attached to the rope of beads.
She closed her eyes again. She was in a religious setting and on her knees in a praying position. There was a very tight band of something around her head. She moved her head just a little and felt the weight upon her head. She wanted to scream. Oh, God, no, she screamed inside of her mind. I cannot be in a whimple! I just cannot be! You wouldn't do this to me. Please tell me you wouldn't give me an adventure like this?
Taryn waited while hoping some deity in this religious place would answer her question, perhaps tell her it was only a play being enacted. She heard faint mumblings all around her. Keeping her head bent, she slowly moved her head to the right and opened her eyes again. There were others to the right of her with the same drab colored, loose fitting dress. And yes, a brilliant white whimple! Oh, God, no. She was a nun! No! No! No! I don't fit into this adventure. I'm not even Catholic and I don't know anything about the Catholic religion. Tell me, please, someone tell me this isn't a true adventure. Tell me that I stopped here by mistake on my way to somewhere else. Please?


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Thnks I Like Pretty . . .
A new classic. Great render.
Thnks Much . . .
Spectacular, all details are spot on, including the way her toes wraps around her leg, bravo!
You could change the hair style according to her face... I mean, destroyed/crazy! Overall, nice work!
Well done but disturbing! The amount of details are off the charts.
Absolutely superb render! Amazing detail, atmosphere and colouring! Love the way the cat is looking up at the smoke too.
This is choreographed so perfectly with every single detail, it leaves me breathless.
This is absolutely awesome! I just live the symbolism here with the cat between her legs. Absolutely creative! I really love your artwork here.
Fantastic work!! So much detail...outstanding!! One question; is the cat a 3D figure? With LAMH?
Great scene ! Well done !!
Some people prefer short-hair cats, but I say leave them fluffy and luxurious.
My mind went straight to Fiona Apple. This is so well done. Beautiful Image! Congrats.
so well done, like everything about it!


At the age of 28, Joseph McConnell was considered too old be a jet pilot in Korea, but he wouldn't let that stop him. He persisted and was assigned to 39th Fighter-Interceptor Squadron, 51st Fighter-Interceptor Wing in 1952 and was credited with shooting down 16 enemy planes in a four month period and became America's first Triple Jet Ace when he shot down three of those planes in a single day.
This post is part of Wednesday Hero. For more information about Wednesday Hero, or if you would like to post it on your site, you can go here.


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Tag Archives: Galleries
THE ALTERNATIVE UNDERGROUND art show at Scott Eder Gallery, Feb 1 thru Mar 9, 2019
THE ALTERNATIVE UNDERGROUND
If you live in or plan to be around the New York metro area, then consider visiting the Scott Eder Gallery for an in depth look at a variety of notable underground cartoonists from the sixties. This includes a number of names that are common to the comics community along with a number that will be newly discovered gems for gallery visitors. The show is entitled, THE ALTERNATIVE UNDERGROUND: Foot Soldiers in the Revolution that Forever Changed Comics and runs from Feb 1 thru March 9, 2019. The opening reception is Friday, Feb. 1, 2019, 5-9 PM. Scott Eder Gallery is located at 888 Newark Avenue, #525, Jersey City, New Jersey in the Mana Contemporary Arts Complex. From New York City, you can easily reach it from the PATH train.
Mickey Rat Comix by Robert Armstrong
What If? by Joel Beck
Casserine
Women at Work!!! by Daniel Clyne
Pro Junior by Dave Dozier
Smile by Jim Mitchell
Rev. Jeremiah Moses by Grass Green
Jesus Learns a Thing or Two by Frank Stack
Trina Robbins self-portrait
More details from Scott Eder Gallery:
When the Underground Comix movement is discussed, R. Crumb, Art Spiegelman, and Gilbert Shelton come quickly to mind. But the revolutionary break from mainstream comic books in the late '60s, leading to graphic novels and today's vital independent scene, was comprised of numerous other artists. Many seldom get their due. Scott Eder Gallery is proud to present some of the largely unsung pioneers like Joel Beck and Frank Stack, both of whose comix significantly predated ZAP. Other featured artists are Bob Armstrong (Mickey Rat), Sharon Rudahl, (Wimmens Comix), Dan Clyne (Hungry Chuck Biscuits), Wendel Pugh (Googiewaumer), Mike Roberts (Bizarre Sex), and other foot soldiers active in the broad and groundbreaking underground comix scene. Discover or rediscover the idiosyncratic styles of more than twenty outspoken and bold cartoonists whose work remains surprising fresh a half century after the psychedelic fervor and anti-war chants swirling around their era have faded away.
Interview with gallery owner Scott Eder:
If you're interested in comics or would like to take the opportunity to see firsthand some of the exciting trailblazing art that has influenced today's boom in indie comics, then be sure to visit Scott Eder Gallery.
Filed under Alternative Comics, Comics, Comix, Denis Kitchen, Phil Yeh, Robert Crumb, Scott Eder, Scott Eder Gallery, The Sixties, Underground Comics
Tagged as 1960s, alternative comics, Art, arts, Cartoonists, comic books, comics, Comix, Denis Kitchen, Entertainment, Galleries, graphic novels, Illustration, indie comics, Media, New Jersey, New York City, Pop Culture, Publishing, robert crumb, Scott Eder Gallery, The Sixties, Underground Comics
August 6, 2017 · 10:30 am
Seattle Art Fair 2017: Much to See and Buy!
Kurt Cobain, Incesticide. Courtesy of UTA Artist Space.
The Seattle Art Fair (August 3-6) offers much to see and to buy. The whole idea is to offer in one space an opportunity for a varied audience to engage with some of the best contemporary art around the world. The 2017 edition features 99 galleries representing 30 cities globally, with 58 from the Pacific Rim alone, in addition to lectures and specially commissioned installations. UTA Artist Space, for example, brings the first-ever exhibition focusing on the visual art of Kurt Cobain to the Seattle Art Fair. It includes previously unseen notebooks as well as two original paintings by Cobain. An additional piece that Nirvana fans will undoubtedly recognize is this collaged cover of the band's 1992 Incesticide compilation.
From Joshua Liner Gallery: Riusuke Fukahori's
The Ark (Goldfish Salvation), 2015
If you are in the Seattle area, you can still catch the final day of Seattle Art Fair this Sunday. And, if you should not be able to make it, be sure to visit the Seattle Art Fair website for details on all the participating galleries. The following is my recap of my visit on Saturday. There are a number of ways to take it the show with countless observations to make and insights to gain. Here are a few of mine.
Sean Townley's 7 Diadems, 2016.
Be sure to look twice. While many of us believe we've seen it all, there is a part of us ready to be astonished. But you need to really look. Take, for instance, a row of what appear to be pods floating along a strip of the showroom floor. Upon a closer look, they appear to be heads reminiscent of the Statue of Liberty. Are they emerging with the truth and rising to the top? Read more regarding Townley's work at Boston's Museum of Fine Arts right here.
C24 Gallery: Carole Feuerman's City Slicker
The art is alive. Engage with it as it is already engaging with you or so it certainly seems. Carole Feuerman's City Slicker was a crowd favorite. Represented by C24 Gallery.
Forum Gallery: Bo Bartlett's Object Lesson, 2017
The art is there to provoke. Welcome a new conversation as art provokes new thoughts and renewed debate, like Bo Bartlett's Object Lesson, represented by Forum Gallery.
Forum Gallery: Xenia Hausner's Gone Girl, 2014
Lose yourself. Art can certainly be as fun as it is intense. Consider Xenia Hausner's Gone Girl, represented by Forum Gallery.
Winchester Galleries: Joe Fafard's Lucien Freud, 2014
Art will shock. Art takes seriously its option to shock. It can be intense or it can be more of a whimsical nudge like, Joe Fafard's 2014 tribute in bronze to painter Lucien Freud. Fafard is represented by Winchester Galleries.
Shift Gallery Seattle: Eric Day Chamberlain's Red Plate Yellow Background, 2016
Art will soothe. Art also prides itself in its ability to calm. Consider Eric Day Chamberlain's Red Plate Yellow Background, 2016. Chamberlain is represented by Shift Gallery Seattle.
David Zwirner Gallery: Andy Warhol's Astronauts, 1963
Pay respect. You are among some of the best art galleries in the world, like David Zwirner Gallery. You will be treated to some of the biggest names in art and perhaps in a whole new light, like the above Andy Warhol's Astronauts, 1963.
Backslash gallery: American artist Fahamu Pecou
Art keeps you strong. Especially during these very troubled times. Backslash gallery is pleased to present a solo show with works especially realized for the fair by American artist Fahamu Pecou whose large painting Daedalus Upliftment was acquired by the Seattle Art Museum last year.
KRUPIC KERSTING II KUK: Tracey Snelling's Lost City
Discover. Keep your eyes peeled and your mind open. You will be rewarded by something fresh and new, like Tracey Snelling's Lost City, represented by KRUPIC KERSTING II KUK.
A Seattle Art Fair video recap:
Keep up with Seattle Art Fair right here.
Filed under Art, Kurt Cobain, Seattle, Seattle Art Fair
Tagged as Art, Entertainment, Galleries, Grunge, Kurt Cobain, Media, Music, Nirvana, Paul Allen, Pop Culture, Publishing, Seattle Art Fair
Review: 'SuicideGirls: Geekology' by Missy Suicide