What Am I Meant to Do in This Life?
I do not think the question of lifestyles cause is as deep as we make it out to be. I assume what drives the question, frustrates, and confuses us approximately that is extra about how we need to experience about ourselves than something else, however, we seem to miss that target extra than we intended at and hit it. I suppose this is because we do not know that it's a real and worthy goal. Nor do we need to experience responsible approximately or uncomfortable with our selections regarding this depends. Often, we convince ourselves there's only One Right Choice, which scares the hell out of us. This preference is not purported to be like deciding on the crimson tablet or the blue pill in The Matrix film.
What led me to this topic turned into a thought procedure I became interesting myself with, wondering why a few people are more pressured to explore and pass towards and into religious awareness and a few are greater pressured in the direction of monetary and belongings gain (legally or illegally attained), with little to no focus on spirituality. Is one path higher or greater valid than the alternative? I do not have the information of Source, so won't even attempt to answer that query. In reality, it could be a useless question, like "why" often is. However, I even have some thoughts about this that I'm at ease sharing.
We realize that one of the Universal Laws is Polarity. This manner that the entirety has a duality about it, has its pair of opposites which might be same in nature but specific in diploma (e.G., hot and cold are polarities of temperature). The Law of Polarity is a mutable law, this means that anything is going on can be transcended. For example, there are high quality and terrible thoughts, however, both are mind, and both of them may be shifted. If matters aren't going properly, you could shift your mind so you are not crushed by way of your bad mind and may affirm Truths that elevate you up. If things are going nicely, you could sabotage yourself with terrible questioning. Polarity continues the momentum going so that stagnation does not occur. We are supposed to be inspired into internal and or outer movement by using the polarities we revel in.
Back to lifestyles purpose or what we're intended to do on this lifestyles. What if your riding query is a way to attain extra money and stuff, and the spirituality factor takes a backseat or isn't always even in the vehicle? It's feasible you are attuned to having a primarily physical-material revel in on this lifetime–for your very own soul's purposes, something they may be. If this is your course, this using force in your life is but a line on the abundance-prosperity polarity graph. Maybe it's intense for you and also you should come to be or do emerge as a millionaire or billionaire. Maybe it is slight. Maybe it's low, at the opposite cease of the spectrum. Perhaps along the manner, or for your greater mature years, your spiritual issue quietly nudges you to invite the way you, on your bodily-cloth mindset, can contribute on your life and the lives of others, and the way you (and maybe others) can evolve as a result. After all, you could be a beneficiant, worrying billionaire who does several big and small sincerely right works from the coronary heart, and by no means consciously or intentionally entertain a spirituality-associated thought on this lifetime.
What in case your driving query is set how you can make contributions to your existence and the lives of others, in addition, to have a deeply nonsecular revel in a bodily-cloth environment? This may additionally lead you to shift backward and forward among identifying how to exist and evolve in both, on your own soul's purposes. You can also locate yourself on the intense cease of this measuring stick and be the person who meditates in a cave and is based on others to convey food, water, and different components to you. Or you can experience that looking to do both materiality and spirituality creates contradictions within you–because you question the importance of doing what enables preserve you and your life as opposed to pursuing or attaining spiritual consciousness. Your question approximately this will block the stability you can enjoy so you have all you need in both regions. We see it all the time: the spirituality-primarily based character who struggles to preserve his or her life. Not handiest is their war an inner one, however an outer one as nicely: there are individuals who query why such humans fee for his or her offerings, and agree with the offerings must be free or nominal because they are notsecular in nature. However, no one argues approximately charges with a plumber when they need one.
You would possibly investigate the two "paths" above as polarities, however, each make contributions to our unified reports of lifestyles. We can not all sit in caves, figuratively and or literally talking. We can not all attention solely on tangible and financial belongings. Both materiality and spirituality are wished for life to flourish. Whichever any such polarity paths you in shape into at the moment, we are all intended to technique reviews and evolve to a few degrees because of them.
It's as much as each people to discern out how we are able to specific ourselves even as here. And this will be in a single way or a number of ways. But it's far approximately what we revel in, what we're right at, what we're inquisitive about, short-term and or long-time period, and what and how we make a contribution to 3 or the various. And what we make a contribution can be in a few massive or grand way or via numerous small kindnesses that ripple outward in a returns-to-you and a pay-it-forward kind of way.
I've had a number of incarnations in this lifetime. I started out as a singer, prevailing awards and scholarships, and training for the opera. Then amid other make-a-living-based and existence stories, I became an artist in three mediums and did six hundred portions of artwork in five years. There have been gallery showings with awards and wherein all my art sold, individual and company commissions, retail stores with income, and a few folks who accrued my paintings. Then I got into writing and editing, with a stretch as an existence empowerment train thrown into the middle of this. These days, I balance my vicinity in that 2d description above (bodily-non secular) via writing my weekly articles–like the one you're studying now–and include them in my weekly newsletter that still highlights the spirituality-primarily based works of guest experts each week. But the other aspect I do, which allows preserving my existence and my ardor for phrases and the tapestries they weave, is services for writers, particularly new writers. This painting drives my bus! Simultaneous to this, I'm usually increasing, increasing, and evolving my nonsecular solidity and nonsecular consciousness, which additionally drives my bus. I no longer query which one is to have greater importance (I used to try this). I've landed within the flowering discipline of whole-beingness: Everything I do contributes something, in a few manners, to me and to others. I draw close the importance of each materiality and spirituality for this enjoy I'm having, simply as one coin has facets. I've emerged as keenly aware that I can't do one without affecting or influencing the alternative.
I share a number of my very own tale so that you can see that you could comply with your route in your own manner. You are intended to. Your course can lead you till the instant you're prepared to steer your self and pick what it's far you desire to do this fulfills you on all levels or on as many degrees as possible for the moment or for a lifetime. What you are intended to do is discover your bliss, as Joseph Campbell stated. Only you already know or can decide what that is. And it may not be in a single way best. What you're intended to do–your existence cause–is a sense, no longer a movement or a thing or someone. Find your feeling. It's your song, your dance, your lifestyles. And it will affect something you pick to do and the way you select to explicit it.
One line of debate stated by means of Professor Dumbledore to Harry Potter that usually speaks to me is that this: "It is not our abilities that show who we are, but our selections." You could have stellar capabilities, skills, and capabilities and waste them or be too afraid to discover and show them in your gain and or the gain of others. You can be excellent at what you do and additionally be an assoholic. You can do one factor or a range of-ofctors nicely that provides enough earnings to hold you surviving or thriving and additionally be a person others love, respect, consider, rely on, and want the employer of. You can display people what you may do and you may show people who you are. Your selections will do that via default, anyway.
Rather than wondering so much approximately what you must be doing or showing others what you can do so that you earn approval, attention extra on who you need to be and show yourself, in addition to others, who you definitely are. And if you make or have made choices you desire you hadn't or regret, forgive yourself; determine to select a higher way if ever faced with a comparable desire. You usually have the choice to do and be better.
Stephen Covey stated, "But until someone can say deeply and clearly, "I am what I am today due to the alternatives I made the previous day," that person cannot say, "I select in any other case." What we are supposed to do in this life is makes choices, ideally conscious ones as opposed to reactive ones; although, we typically (optimistically) recognize sooner or later that that is a part of our direction we are here to travel. We can make choices that aid us or reputedly don't. I say reputedly do not, because on occasion you get wherein you're going through touring a returned road in preference to a superhighway. We can make choices that make contributions to one or many others, or choices that detract. Choose to contribute in methods appropriate for you and for others. Sometimes what this means to you requires you to parent it out for yourself, but it is a first-rate shape of GPS for a greater enjoyable existence.


When it comes to selecting a speed reducer, most engineers think of the foot-mounted type that connects between the drive motor and driven machine via coupled shafts. But many applications including those in the grain, aggregate, and bulk material handling industries are better suited to a shaft-mounted speed reducer. This type mounts on the input shaft of a driven machine, and is held steady by an adjustable arm attached to the machine housing.
It offers several advantages over foot-mounted parallel-shaft reducers including lower installed cost, smaller size, and elimination of alignment requirements. A shaft-mounted reducer, installed with motor mount, tapered bushings, V-belt drive, and belt guard, can save as much as 40% of the cost of a foot-mounted reducer.
The reducer can be mounted in horizontal, vertical or inclined positions. In most cases, it is horizontal. The drive motor attaches to the top of the reducer housing with a motor mount, and it drives the reducer with a V-belt.
Because the motor and V-belt drive mount directly on the reducer, shaft-mounted reducer assemblies require less space than foot-mounted ones with coupled shafts. Further, the motor-belt-reducer assembly can be mounted directly onto the input shaft of the driven machine and secured by either straight or tapered bushings.
These bushings are concentrically machined to eliminate any misalignment between the reducer bore and the input shaft of the driven machine. Moreover, directly connecting the components eliminates alignment variations due to separate shafts and couplings, thereby reducing installation time and expense. Bushings allow easy installation and removal, and avoid the need to realign the reducer during re-installation. They can accommodate shafts up to 10-in. diameter.
Shaft mounted reducers generally range from fractional to 750 hp, with speed-reduction ratios from about 5:1 to 25:1 and output speeds from 1 to 400 rpm. Most of them contain helical gears, which have higher load capacity than spur gears because their angular tooth orientation produces a longer effective tooth width. Others have spur or herringbone gears.
In addition to tapered or straight bushings for mounting, units may come with backstops, cooling fans, and auxiliary seals.
Shaft-mounted reducers are classified as Class I, II or III, with corresponding Service Factors (SF) of 1.0, 1.4, and 2.0 respectively.
Class I reducers operate under steady loads 10 hours or less per day. They are not subjected to heavy shock but may experience light shock loads on a limited basis. Normal running conditions do not cause loads that exceed rated motor horsepower. The maximum starting load or momentary load must not exceed 200% of the horsepower rating. If it does, then you need to use the larger horsepower rating for selecting the reducer.
For example, assume that a drive with a 5-hp motor will run less than 10 hours a day. This drive would normally operate within the parameters of a Class I reducer. However, shock loads boost the maximum horsepower requirement to 12.98 hp. This exceeds the 200% rating of the motor (2 x 5 hp = 10 hp). Therefore, you must use a higher motor horsepower requirement, 12.98 hp/2.0 = 6.49 hp, for sizing the reducer.
Class II reducers operate over 10 hours per day under steady or moderate shock loads. Starting loads or peak loads are not to exceed 280% of the maximum motor rating. If the maximum horsepower rating is exceeded, use the same procedure as before, but divide the calculated horsepower by 2.8 instead of 2.0.
Class III reducers operate over 10 hours a day, experience moderate shock loads, and may encounter heavy shock loads for up to 10 hours a day. Starting loads or momentary loads must not exceed 400% of the motor rating. If they do, use the same procedure as before, but divide the calculated horsepower by 4.
Once the torque and horsepower ratings are determined, you can choose a suitable reducer from the manufacturer's catalog.
F = Input drive factor, 1.5 for Vbelt. Other values are 1.0 for single chain, 1.25 for spur and helical gear and double chain, 1.3 for timing belt, and 2.5 for flat belt.
R = Pitch radius of sprocket or sheave on reducer input shaft, in.
Next, make sure the maximum bore diameter of the reducer is large enough to accommodate the input shaft of the driven machine.
Most catalogs for shaft-mounted reducers contain charts and tables that summarize the results of these calculations. Such tables are typically based on the class of service, input speed, horsepower requirement, and the output speed at which the reducer is to be operated. After choosing the table that is based on your Service Factor, select a reducer that provides the required horsepower and output speed.
These tables eliminate the need to calculate overhung load: they simply list the minimum sheave diameter that can be used so as not to exceed the overhung load limits of the reducer.
In the previous examples, we assumed that the horsepower requirements were known. But what if the horsepower requirements are not known? Consider an inclined belt conveyor 300 ft long with a rise of 20 ft. The belt must move 300 tons/hr from its low end to the opposite end.
The manufacturer's catalog shows that it requires 8.4 hp to move 300 tons/hr along a horizontal plane and 6 hp to lift the load to 20 ft. Adding these two figures gives the total horsepower required to move the load to the other end of the conveyor, which is 14.4 hp, or rounded up to 15 hp.
Using the manufacturer's selection tables, choose a reducer that provides the required horsepower and desired speed. Then use the V-belt drive section of the catalog to find the sheave diameters and the number of belts required.
In this example, you can select any reducer output speed listed. However, you must also choose a conveyor belt width that, in combination with the reducer speed, will deliver the required 300 tons/hr.
where SF = Service Factor.
Some manufacturers, however, base the bearing life on something less then 5,000 hr, which results in a lower calculated life. Let's examine an L10 life of 5,000 hr compared to one of 3,000 hr. Assume both reducers have a service factor of 2.0 and are equipped with tapered roller bearings.
With the normal L10 life based on 5,000 hr, the reducer has an average estimated life of about 50,000 hr (see curve), whereas an L10 life based on 3,000 hr gives the reducer only about 29,500 hr life (manufacturer's curve not shown). This is a 40% reduction in service life and shows clearly the need to carefully evaluate bearing ratings when choosing a reducer to fit your application.
To ensure satisfactory reducer performance, address lubrication requirements early in the design phase. Select the correct ISO grade oil for the ambient operating conditions per the manufacturer's instructions. Also make sure that oil levels are easy to maintain. Low oil levels can damage bearings and gears; whereas high oil levels can lead to overheating due to air trapped in the oil.
Lubrication is particularly important where a backstop is used. A backstop lets the reducer turn freely in one direction but locks up when reversed. This is required on applications such as belt conveyors or bucket elevators to prevent injury if electrical power to the motor is interrupted. If the reducer has a backstop, don't use oils with EP additives such as graphite or molybdenum disulfide. They will cause excessive slippage of the sprag action of the backstop.
Contamination due to poor shaft sealing can also be a major contributor to reducer failure. As the reducer operates, dirt and grit around the input and output shafts is ground into the seal areas, damaging the seals and shafts, and causing leaks. Auxiliary and harsh duty seals are available that provide extra protection to seal out contamination.
The type of breather used in the oil reservoir also affects contamination. Standard breathers allow contaminants to be sucked into the reducer where they can cause bearing, gear, and seal damage An improved filter breather or a sealed bladder breather will prevent this from happening.


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News never stops. Neither do we. Support OregonLive.
Oregon tackles the veterinary suicide crisis, starting with the stigma
Updated: Oct. 20, 2020, 12:04 p.m. |
Published: Jul. 10, 2019, 7:00 a.m.
Hazel White, 2, helps her mom Dr. Aletha Carson perform a checkup on Snickett, a 6-month-old guinea pig on April 26, 2012 at Banfield Pet Hospital in Portland. The Vancouver-based pet care company began officially combating the suicide crisis in veterinarians in 2017 through wellness resources and student loan debt programs.LC-
McKenna Ross/OregonLive.com
Not many people can say they've accomplished their life goal of working with animals — one they've had since age 5 — and go on to a dream career. But the stress of Seth Vredenburg's job as a veterinarian was making him a hermit.
Depression from his high-stress position in Portland kept him from simple things like dinner plans. The only social interactions he had, he said, were with other veterinarians, so they could complain. Not a healthy habit, he realizes now. His stress levels led to mounting health problems.
Ultimately, his doctor ordered him to quit his job at the clinic.
Vredenburg is just one of thousands of veterinarians who have suffered from psychological stress on the job. In fact, the Centers for Disease Control and Prevention released a study in January that found suicide rates, when compared to the general population, were 2.1 times as high for male veterinarians and 3.5 times as high for female veterinarians.
The study, which analyzed deaths between 1979 and 2015, came as no surprise to many veterinary specialists in Oregon who have seen this trend play out in real life for years. It did, however, validate their concerns.
Oregon and other Western states have higher than average suicide rates.
Ninety-eight percent of veterinarians with psychological stress report depression, 88% report burnout and 83% report anxiety. Each is a much more significant problem for veterinarians under 45.
In the past several years, Oregon educators, business leaders and activists have initiated programs and conversations to address a previously taboo topic in hopes of saving their colleagues' lives.
Most people don't become veterinarians to get rich.
"Veterinary medicine is a unique industry," Molly McAllister, a veterinarian, said. "It's really a calling as a profession, more so than a logical decision."
It takes a passion for animals and a strong work ethic, she said. That drive helps young vets-to-be to ignore long hours that can affect a healthy work-life balance and student debt that can reach that of a mortgage. The average student loan debt of veterinarians was $167,000 in 2016, according to the American Veterinary Medical Association. Average starting salaries are between $70,000 and $80,000 annually. Some vets can even carry student loans of $250,000 – debt they'll be paying back well into retirement.
McAllister is the chief medical officer of Banfield Pet Hospital, the Vancouver-headquartered pet care company with 18,000 employees across the country and Puerto Rico, including more than 1,000 in the Portland area. She remembers being questioned about debt when applying to veterinary schools.
"The interview board saying to me, 'You're going to accumulate a lot of debt. Do you realize what that is?'" McAllister said. "As a bright-eyed student, smiling and nodding and saying, 'Yeah, I realize I'm going to pay off loans for the next 30 years,' I could never have understood how that would actually feel like."
Student loan debt, exacerbated by a high debt-to-income ratio in the profession, is one of several key factors playing into the suicide epidemic, the CDC found.
For a profession filled with high-achievers and perfectionists, it's easy to see how burnout, anxiety and depression can all play out, said Alex Rowell, a psychologist in the Oregon State University Carlson College of Veterinary Medicine.
"They think, 'I have to pass this class so I can graduate and earn some income to pay that debt,'" Rowell said. "'Can I pay my bills? Am I going to find a partner and be able to buy a house?'"
There are factors beyond money. Experts have identified compassion fatigue as another top reason contributing to vets' psychological distress. Treating animals that are often unhealthy can be particularly tough psychologically — or as Rowell put it, "it can drain your tank."
Then, there's the exposure to death. Veterinarians are often tasked with end-of-life care for a family's furry loved one. Vets often become a pet undertaker.
"Sometimes you might have to do five (euthanasia procedures) in a day," McAllister said. "It can be incredibly emotionally draining. It's a very unique aspect to health care, that other health care providers don't necessarily have to deal with death on that level."
The social media age presents a new stressor, too. Grieving clients sometimes take to the internet to blame a clinic or veterinarian for their pet's death. A New York vet died by suicide in 2014 after harassment over a cat custody battle made her an online target.
Her death was highly discussed in the veterinary community, exemplifying the seriousness of cyberbullying. The American Veterinary Medical Association created a cyberbullying-specific hotline two years after the incident.
Suicide in the profession went largely unexplored until U.S. studies began to surface in 2015. But many vets saw the problem for decades.
The data spurred groups to begin health and wellness campaigns. Banfield Pet Hospital took its first major steps toward a wellness plan in 2017 by creating a team dedicated to the problem, McAllister said. The team started with events like open mic sessions with leadership and mental health presentations at national conferences.
The company will launch suicide prevention training through e-learning sessions in September — during National Suicide Prevention Month. The program will be optional and offered annually to start but may be integrated into the hiring process in the future.
Banfield also began addressing a key factor in the epidemic: debt. The company created student loan debt relief programs for its veterinarians in 2017. Plans range from refinancing options to summer jobs and clinical rotations with loan-addressing incentives to return for full-time work.
In its most direct plan, Banfield pays $150 monthly to every vet's loan organization. The contributions reached $4 million in one year, according to the company.
But smaller clinics may not have the time or resources for a comprehensive health or debt-fighting plan. At annual conferences, Portland Veterinary Medical Association leaders increasingly heard from their 600 members how much they valued curriculum on health and well-being, president Carla Lerum said. Now, two annual programs center on mental health improvement: from self-care and work-life balance to identifying signs of psychological stress in colleagues.
The association's resources are especially beneficial for smaller clinics, Lerum said. It is working on direct resources as well — things like health care plans and a la carte additions through the association. The goal, she said, is distributing costs and options throughout the community so more is available.
"It takes a village," Lerum said. "A lot of that burden can't just be put on that employer."
Ultimately, though, the most important action can be simply encouraging open dialogue, said McAllister. In the past, the field was filled with people who wanted to solve their problems themselves. Health care professionals are fixers — they're trained to not ask for help, McAllister said. Turning the culture around could save lives.
Rowell, the Oregon State psychologist, agreed. In 2016, he became the first counselor embedded in the vet school. Last semester, he launched the first elective focused solely on "self-compassion," leadership and diversity in the profession. He said the class is just one example of how to educate soon-to-be vets on preventing a culture of stress.
Rowell's role puts a face to the solution. He even walks the halls to get students comfortable with therapists. If students see him as an asset early in their education, then maybe they'll be more open to conversations or counseling when they are stressed on the job in 20 years.
Already, Rowell sees an increased caseload. The class of 2023, he said, will be more comfortable with an on-site counselor. His clinical caseload increases each year in part because word-of-mouth recommendations from peers make students and faculty more comfortable.
"I think we've brought it out of the darkness," Rowell said. "We've had conversations about stress, anxiety and suicide. They used to be very taboo. We used to look at it as some moral flaw. But now we say it's OK to talk about it with someone.
"Once they get over that initial potential stigma and process their concerns, it's been a very cathartic experience for them."
For Vredenburg, the Portland veterinarian, opening the dialogue helped. He left clinical work and focused on "self-therapy," mindfulness and understanding compassion fatigue so he could identify stressors.
He learned to take two minutes after a euthanasia to give himself to feel the pain of the task and the family, then collect himself again, while still practicing. Vredenburg now works at MARS Pet care, where he develops training for other veterinarians.
There's no one solution, no "simple pill," to address each person's mental health, he said. But for now?
"Right now, it's all about having conversations."
Portland is home to Lines for Life, a nonprofit devoted to suicide prevention throughout the Pacific Northwest. It operates a suicide prevention line that is answered 24 hours a day, 365 days a year. It can be reached at 800-273-8255 or by texting "273TALK" to 839863.
-- McKenna Ross
mross@oregonian.com
503-221-5776; @mckenna_ross_
Visit subscription.oregonlive.com/newsletters to get Oregonian/OregonLive journalism delivered to your email inbox.

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"Dental influences related to Candida overgrowth and general health"
Candida patients who have not had satisfactory results with previous candida protocols should seriously consider the careful removal of mercury containing dental fillings that are galvanically active. Mercury mechanically liberated by erosion (chewing) as well as leaking or vaporizing into the system due to chemical reactions taking place in the mouth, has been found to be a major factor in the body's battle with yeast organisms. Filling restorations should be performed by a qualified practitioner of Biological Dentistry trained in the assessment of the electrical properties of potentially troublesome fillings. Practitioners of General Dentistry have not been trained in the use of the correct precautionary measures needed to ensure their mercury sensitive patient's well-being during and after such procedures. Old root canaled teeth may also pose problems that may predispose an individual to greater risk of developing various chronic degenerative ailments. It is advisable to investigate the possible need for their extraction, due to their potential for causing long term, low level infection that can substantially overburden the immune system.


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Looking for a fun, hands-on field trip that will help your students connect with food, the land, and each other? Want an out-of-classroom experience designed to support the new BC Curriculum? We would love to welcome your class or youth group to visit our farms!
Starting this spring, we are excited to offer field trips at our Suwa'lkh site in Coquitlam! These programs will focus on Traditional Ecological Knowledge and First People's ways of knowing.
Jump to Suwa'lkh field trip details.
You don't have to travel far to give your students a farm experience. Situated at Vancouver Technical and David Thompson secondary schools, our schoolyard farms are a short walk from many elementary schools and community centers. All field trips are 2 hours long and include a farm work experience, as well as a tasting of salad or other veggies. Read on for all the details and programs designed with your class in mind!
$150 for up to 25 youth; $6 for each additional youth.
We can host up to 30 youth on either of our farm sites. If you have a larger group, consider booking both a morning and an afternoon session, and have the whole group enjoy lunch together!
We require 1 teacher/chaperone for every 6 grade K-3 students, 8 grade 4-5 students, 10 grade 6-7 students, and 12 grade 8-12 students. Required adults are included in the group cost; additional adults will be charged at the student rate. If your group needs more adult assistance, please let us know on the registration form.
Farm field trips are available from April through October. We are now scheduling field trips for spring and summer 2019.
Morning spaces are filling fast, especially in May and June. Book now for the best availability!
We'd love to have your camp, summer school group, or day care visit the farms this summer! The weeks of July 8th, July 22nd and August 6 (afternoons only) are available for summer field trips. Book your summer program before May 31st.
We will begin scheduling September and October field trips in June.
While our farms rest from November through March, it's a great time to bring Fresh Roots to your classroom, Scout or Guide group, or other community group! Click here to learn more about our workshops.
Click here for more information about our field trip policies. Click here to get a glimpse into what experiential learning on the farm looks like.
2019-2020 A Year on the Farm applications will be available in June. This full-year program expands on our "All About Cycles" field trip, helping your students develop deep connections with the land through the cycle of the seasons, as they explore how plants grow and how weather and seasonal changes affect life on the farm. Classes in the program will have the opportunity to plant in their own plot on the farm, visit the farm monthly through the school year, and be invited to a summer harvest celebration. Learn more here!
Explore stories of growing and eating food from around the world, learn the story of the farm, and create a story of your farm experience!
Farm Stories supports these Big Ideas.
K, 1: Stories and other texts can be shared through pictures and words.
K, 1: Stories and other texts help us learn about ourselves and our families.
K, 1, 2: Everyone has a unique story to share.
K, 1, 2: Through listening and speaking, we connect with others and share our world.
K, 1, 2, 3: Language and story can be a source of creativity and joy.
K, 1: Daily physical activity helps us develop movement skills and physical literacy, and is an important part of healthy living.
K: Learning about ourselves and others helps us develop a positive attitude and caring behaviours, which helps us build healthy relationships.
2, 3: Daily participation in physical activity at moderate to vigorous intensity levels benefits all aspects of our well-being.
2: Learning how to participate and move our bodies in different physical activities helps us develop physical literacy.
3: Movement skills and strategies help us learn how to participate in different types of physical activity.
K: Our communities are diverse and made up of individuals who have a lot in common.
K: Stories and traditions about ourselves and our families reflect who we are and where we are from.
1: Our rights, roles, and responsibilities are important for building strong communities.
1: We shape the local environment, and the local environment shapes who we are and how we live.
3: Indigenous knowledge is passed down through oral history, traditions, and collective memory.
3: Indigenous societies throughout the world value the well-being of the self, the land, spirits, and ancestors.
3: Learning about indigenous peoples nurtures multicultural awareness and respect for diversity.
3: People from diverse cultures and societies share some common experiences and aspects of life.
Learn how the cycle of the seasons affects the life cycle of the plants we eat.
All About Cycles supports these Big Ideas.
K: Daily and seasonal changes affect all living things.
K: Plants and animals have observable features.
1: Observable patterns and cycles occur in the local sky and landscape.
2: Living things have life cycles adapted to their environment.
3: Living things are diverse, can be grouped, and interact in their ecosystems.
Dirt, You Made My Lunch!
Learn about the nutrient cycle, soil composition, and compost food webs, and see how they all come together to make delicious, nutritious food!
Dirt, You Made My Lunch! supports these Big Ideas.
4, 5: Personal choices and social and environmental factors influence our health and well-being.
5: Daily physical activity enables us to practice skillful movement and helps us develop personal fitness.
4: All living things sense and respond to their environment.
4: Energy can be transformed.
5: Earth materials change as they move through the rock cycle and can be used as natural resources.
5: Multicellular organisms have organ systems that enable them to survive and interact within their environment.
5: Natural resources continue to shape the economy and identity of different regions of Canada.
Learn how a healthy environment, healthy food, and healthy people are connected. We will learn about the farm as an ecosystem, explore what "healthy" means for the planet and ourselves, and give our bodies nutritious food and physical activity to help us be our healthiest selves.
Healthy Farm, Healthy You supports these Big Ideas.
4, 5: Exploring our strengths and abilities can help us identify our goals.
4, 5: Understanding ourselves and the various aspects of health helps us develop a balanced lifestyle.
4, 5: Knowing what we enjoy doing and knowing about our opportunities to participate in those activities helps us develop an active lifestyle.
Why are there so many different kinds of apples? Why can't we grow coconuts in Vancouver? How does biodiversity help the farm? Explore these questions and more as we dive deep into the evolution of food crops through natural and unnatural selection, and the effects of climate on our food!
Evolution on the Farm supports these Big Ideas.
6,7: New experiences, both within and outside of school, expand our career skill set and options.
6,7: Practising respectful, ethical, inclusive behaviour prepares us for the expectations of the workplace.
6,7: Safe environments depend on everyone following safety rules.
6: Daily physical activity enables us to practice skillful movement and helps us develop personal fitness.
7: Daily participation in different types of physical activity influences our physical literacy and personal health and fitness goals.
6: Everyday materials are often mixtures.
6: Multicellular organisms rely on internal systems to survive, reproduce, and interact with their environment.
7: Evolution by natural selection provides an explanation for the diversity and survival of living things.
7: Earth and its climate have changed over geological time.
At Fresh Roots, we believe in Good Food For All. But what is "Good Food," and why don't we all have it already? Explore the social, environmental, and economic impacts of the food we eat.
Becoming a Food Citizen supports these Big Ideas.
6, 7: Design can be responsive to identified needs.
6, 7: Exploring and sharing multiple perspectives extends our thinking.
6: Economic self-interest can be a significant cause of conflict among peoples and governments.
6: Media sources can both positively and negatively affect our understanding of important events and issues.
7: Economic specialization and trade networks can lead to conflict and co-operation between societies.
Get a taste of what Fresh Roots is all about! Activities will vary, but you can expect to learn about how Fresh Roots came to be, learn about food and food systems through play, participate in farm work, and try some farm-grown food!
If you are interested in a field trip longer than two hours, or would like to work with our Experiential Learning Manager to craft a program to meet your learning objectives, fill in the registration form and we will get in touch to figure out how we can help make it happen!
Cost: A uniquely designed program will be priced accordingly.
A field trip to Suwa'lkh is like no other Fresh Roots field trip. Located at the Suwa'lkh School in Coquitlam, our program space includes a native plant propagation greenhouse, medicine and food gardens, and a seven-acre forest with a forest classroom and a salmon stream. Field trips at Suwa'lkh focus on First People's ways of knowing, helping students connect with Traditional Ecological Knowledge, in both cultivated and natural food lands. Students will even be able to take a piece of Suwa'lkh back with them in the form of native plants.
$185 for up to 25 youth; $7 for each additional youth. Cost includes native plants to be planted at school or home.
We can host up to 30 youth. If you have a larger group, consider booking both a morning and an afternoon session, and have the whole group enjoy lunch together!
We require 1 teacher/chaperone for 10 students at Suwa'lkh. Required adults are included in the group coast; additional adults will be charged at the student rate. If your group needs more adult assistance, please let us know on the registration form.
We are offering 3 dates for Suwa'lkh field trips at this time, April 9, 10, and 16. Additional dates may open up later in the season.
Click here for more information about our general field trip policies.
Exploring First Peoples' ways of knowing and being, we will learn how knowledge, ecological sustainability, and prosperity were, and still are, all linked. Take some plants back with you and create a calendar of their natural cycles through the year.
First People's TEK supports these Big Ideas.
Learn about local traditional knowledge of plants and explore how they contribute to our sense of place, well being, and interconnectedness. Take some plants back with you, and get to know them throughout the seasons!.
Plants Make a Place supports these Big Ideas.


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Corona Depression (2020)
Watch Corona Depression (2020) Online
A pandemic strikes the world. What does quarantine do to a lonely woman's mind? Follow her from sense to insanity. No filters. Just you, her, and her more and more twisted mind.
Director: Linda Sandkvist
Actors: Hedvig Lagerkvist
Tags:Added Today Movies 2020
Max Reload and the Nether Blasters (2020)
A small town video game store clerk must go from zero to hero after accidentally unleashing the forces of evil from a cursed Colecovision game.
Zathura: A Space Adventure (2005)
After their father is called into work, two young boys, Walter and Danny, are left in the care of their teenage sister, Lisa, and told they must stay inside. Walter…
Magic Mike (2012)
Mike, an experienced stripper, takes a younger performer called The Kid under his wing and schools him in the arts of partying, picking up women, and making easy money.
Idiocracy (2006)
To test its top-secret Human Hibernation Project, the Pentagon picks the most average Americans it can find – an Army private and a prostitute – and sends them to the…
Genre: Adventure, Comedy, Science Fiction, Thriller
The Card (1952)
A charming and ambitious young man finds many ways to raise himself through the ranks in business and social standing – some honest, some not quite so. If he can…
Maggie is an uptight, single mother and college writing teacher from New York City. In an effort to reconnect with her troubled teen daughter Summer, she decides to embark on…
Country: Italy, Spain, Sweden, UK, USA
A retelling of the classic Dickens tale of Ebenezer Scrooge, miser extraordinaire. He is held accountable for his dastardly ways during night-time visitations by the Ghosts of Christmas Past, Present,…
Genre: Comedy, Drama, Family, Fantasy, Musical
#1 Cheerleader Camp
A pair of horny college guys get summer jobs at a sexy cheerleader camp.
Fletch Lives (1989)
Fletch is a fish out of water in small-town Louisiana, where he's checking out a tumbledown mansion he's inherited. When a woman he flirts with turns up dead, he becomes…
A crew of savvy former strip club employees band together to turn the tables on their Wall Street clients.
Genre: Comedy, Crime, Drama, Thriller
When a group of tourists on a New Orleans haunted swamp tour find themselves stranded in the wilderness, their evening of fun and spooks turns into a horrific nightmare.
A Madea Christmas (2013)
Madea dispenses her unique form of holiday spirit on rural town when she's coaxed into helping a friend pay her daughter a surprise visit in the country for Christmas.
Trailer: Corona Depression (2020)


The list below includes the cities that the US Post Office accepts for ZIP code 59716. The preferred city may not be the city in which the ZIP is located. The city for 59716 is usually the name of the main post office. When mailing your package or letter, always include the preferred or acceptable cities. Using any city in the list of unacceptable cities may result in delays.
ZIP code 59716 is located in southern Montana and covers a large land area compared to other ZIP codes in the United States. It also has a slightly less than average population density.
The people living in ZIP code 59716 are primarily white. The number of people in their late 20s to early 40s is extremely large while the number of seniors is small. There are also an extremely large number of single adults and an extremely small number of single parents. The percentage of children under 18 living in the 59716 ZIP code is extremely small compared to other areas of the country.
ZIP code 59716 has an extremely large percentage of vacancies.
The majority of household are vacant. Homes in ZIP code 59716 were primarily built in the 2000s. Looking at 59716 real estate data, the median home value of $376,400 is extremely high compared to the rest of the country. It is also slightly less than average compared to nearby ZIP codes. 59716 could be an area to look for cheap housing compared to surrounding areas. Rentals in 59716 are most commonly 3+ bedrooms. The rent for 3+ bedrooms is normally $1,000+/month including utilities. Prices for rental property include ZIP code 59716 apartments, townhouses, and homes that are primary residences.
The median household income of $65,794 is compared to the rest of the country. It is also compared to nearby ZIP codes. So 59716 is likely to be one of the nicer parts of town with a more affluent demographic.
As with most parts of the country, vehicles are the most common form of transportation to places of employment. Residents in ZIP code 59716 use public transportation to travel to work more than most areas of the nation. 59716 is extremely friendly to pedestrians/cyclists and the percentage of people using these transportation methods to commute to work are among the highest in the country. In most parts of the country, the majority of commuters get to work in under half an hour. The commute in 59716 is that short for a higher percentage of workers than almost anywhere in the United States. Many commuters should consider themselves lucky that they don't have a longer commute. It is very uncommon, compared to the rest of the US, for employees to have to travel more than 45 minutes to their place of employment.
For more information, see Big Sky, MT household income.
Compared to other ZIPs, 59716 has a very small percentage of people that did not graduate high school. The area has some of the highest percentages of people who attended college of any ZIP.


Changes - Expected or Unexpected, What do we do?
R. Lee & Associates, P.C. regularly serves as the trusted advisor to dental professionals on both business and personal legal matters, with a dedication to understanding the unique and changing issues faced by dental professionals.
Our law practice is designed to serve the various needs of the dental professional throughout their career. We regularly review and negotiate employment and independent contractor agreements for those just entering the dental profession. In the early development of practices, we work closely with our clients in practice start-ups, entity formations, practice purchases, practice buy-ins and lease agreements. As dental practices grow and thrive, we serve as counsel to clients on matters involving employees, contracts, entity maintenance, dispute resolution, real estate purchases, and partner and shareholder agreements. Finally, when it comes time to transition the dental practice, we provide essential guidance to clients on developing and executing the proper exit plan. Personally for dental professionals, we develop appropriate estate plans based on each dentist's distinct desires, goals and objectives. In our Estate and Trust Planning practice, we guide clients through the process and properly address items such as asset protection and distribution, care for children and other family members, tax planning, business succession, and the proper selection of fiduciaries.
We have extensive experience working with other advisors focused on serving dental professionals, including accountants, lenders, financial advisors, real estate advisors, equipment and supply vendors, practice brokers, and construction and office design consultants. We are very comfortable working as part of a team to ensure our clients receive the most comprehensive advice. We often serve as a resource to our clients to connect them with the appropriate advisor.
As a frequent speaker at dental schools, groups and organizations, we enjoy sharing information on the current legal issues faced by dental professionals.
Dental professionals do have unique business and legal issues and are best served by advisors with a thorough understanding of their profession. Our intention is to be a long term, valuable member of the dental professional's team by providing timely, insightful legal advice and benefiting our clients from our substantial experience counseling other dental professionals.


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BROCK ELBANK
THE FACE BEHIND THE FRECKLES
When I see people who stand out from the crowd, I always see it as a positive thing, a very beautiful thing. These people might not see themselves in that way and that's kind of what fascinates me. I always like something that's different and diverse and unique and stands out.
It was with this mentality that British photographer Brock Elbank started the Freckles series in 2012, a project that led him to start his days at sometimes 4 in the morning to begin weaving through the 8 thousand email requests he would receive from freckled members of society hoping to make the cut. Freckles got 6,500 applications, and in the end, featured over 160 subjects covering 35 countries and 6 continents.
DAISY TRINDER, 2016
THE FIRST FRECKLES PORTRAIT
Australian-born Daisy Trinder became the face for the Freckles series. In March of 2016, she wrote to Brock with a selfie attached of her freckled face and he knew instantly that she would be perfect for the project. At the time, Brock was traveling to Sydney for his Beard Exhibition at the Michael Reid Gallery, making it easy for Daisy and her father to fly over and have her portrait photographed. A young classic beauty with amazing cheekbones, fiery red hair, piercing blue eyes, and a wicked sense of humor, Brock recounts how it was to work with Daisy for the first time two years ago, saying, "The first shot was when she was 12 years old. It was quite an experience for her. She hadn't done anything like this before. She was a bit shy, blushed quite easily. And her image kind of became this thing. I shouldn't have a favorite image in the series, but it is my favorite image."
THE FOLLOW-UP PORTRAIT
Meeting again for the first time two years later in mid-May 2018 in Kristianstad, Sweden, Daisy and her mother flew out for the opening weekend of the Freckles series' premiere at the Regional Museum of Kristianstad (Regionmuseet Kristianstad) to meet Brock. Reuniting at the exhibition of Freckles was the perfect chance to recreate the original portrait that Brock originally shot on the Hasselblad H4D-60, but this time with the H6D-100c. "It was interesting trying to replicate the portrait now when she's almost 15 years old; trying to get her head in almost the same position was quite challenging. She's more angular in the new picture. A little bit sharper, more mature features, and about 30 cm taller than she was before," comments Brock. On top of that, photographing the original portrait early March in 2016 at the end of the Australian summer, one notices that Daisy's freckles were much denser versus shooting the new portrait now in mid-May.
"The second time around, I think Daisy was aware of my work process. She knew we were going to do exactly what we did before. I mean, she just did it. She kind of nailed it. She's a bit more confident, she's older, she's a bit more worldly-wise. I can see that subtlety, that in the first one there is a sort of innocence about her face that isn't so much in the second one," says Brock about working with Daisy the second time around.
SHOOTING WITH THE H6D-100C
Shooting the follow-up portrait of Daisy two years later with the H6D-100c, Brock was astounded by the quality it produced. He loves his H4D-60, having shot everything on it for Freckles along with his previous series, Beard, and his current series, Vitiligo; with a pixel ratio of 8500 pixels in height for his files, it's perfect for his work.
But then you move onto the H6D-100c with 11500 pixels in height and the clarity sort of hurts your eyes, it's so good. It's so pin sharp. The file quality really is phenomenal!
ABOUT BROCK ELBANK
In 1987, at 14 years old, Brock Elbank purchased U2's Joshua Tree Album, fell in love with the imagery, and knew that he wanted to become a photographer. Moving to London at the age of 21 after completing art college, Brock started working at Metro Studios and started his photographic career with fashion and portraits. He moved to Sydney in 2004 and went on to work in advertising photography. In 2010, he purchased the Hasselblad H4D-60 and was the first photographer in Australia to acquire this camera. He still uses it today. Brock moved back to the UK in 2013. Check out his amazing work at mrelbank.
DISCOVER THE H6D-100C
LEARN MOREJETZT KAUFEN


Selim Franklin was born in 1814, the son of Miriam and Lewis Franklin, a Liverpool banker and marble importer.
The Franklins had nine sons and two daughters, of whom at least three: Selim, Lumley, and Edward, as well as their cousins Benjamin, Maurice, and Lewis came to the Pacific coast.
After the discovery of gold in California, Selim boarded the St. George in April of 1849, the first ship to sail directly from London to San Francisco, and landed October 1849.
He opened a large store and helped to found their Chamber of Commerce.
Selim was successful until an 1851 fire ruined his business.
He became an auctioneer and real estate dealer, buying large holdings on Battery Street and Sacramento Street in San Francisco.
Selim Franklin was a founder of the San Francisco Chamber of Commerce.
1858 gold discoveries lured Franklin to Victoria, where he established Selim Franklin & Co., auctioneers and land agents on Yates Street.
He was soon joined by his older brother, Lumley.
As the only qualified auctioneer of British citizenship in the two colonies, Selim was engaged by the government.
In 1859, Selin Franklin was appointed Foreman of the Grand Jury of the Colony.
In 1860, he was elected to the second Legislative Assembly of Vancouver Island; only the third Jew to be elected to a legislature in British North America.
However, the Oaths Bill had been passed in June of 1860, rendering impossible any question of a Jew having to take the oath as a Christian in the House of Commons.
He objected to the union of Vancouver Island and British Columbia, resigned his seat in the legislature, and returned to San Francisco in 1866.
Selin Franklin passed away in 1885.
The Franklin River on Alberni Canal was named for Selim.
Sarah H. Tobe is Curator of this Henry Nathan Jr. Exhibit.
Any additional information or photos would be appreciated.
More people will see this Exhibit if you "like" it and "Share" it on your Facebook Page.


Japanese painting (絵画, kaiga, also gadō 画道) is one of the oldest and most highly refined of the Japanese visual arts, encompassing a wide variety of genres and styles. As with the history of Japanese arts in general, the long history of Japanese painting exhibits synthesis and competition between native Japanese aesthetics and the adaptation of imported ideas, mainly from Chinese painting which was especially influential at a number of points; significant Western influence only comes from the later 16th century onwards, beginning at the same time as Japanese art was influencing that of the West .
Areas of subject matter where Chinese influence has been repeatedly significant include Buddhist religious painting, ink-wash painting of landscapes in the Chinese literati painting tradition, calligraphy of ideographs, and the painting of animals and plants, especially birds and flowers. However distinctively Japanese traditions have developed in all these fields. The subject matter that is widely regarded as most characteristic of Japanese painting, and later printmaking, is the depiction of scenes from everyday life and narrative scenes that are often crowded with figures and detail. This tradition no doubt began in the early medieval period under Chinese influence that is now beyond tracing except in the most general terms, but from the period of the earliest surviving works had developed into a specifically Japanese tradition that lasted until the modern period.
The official List of National Treasures of Japan (paintings) includes 158 works or sets of works from the 8th to the 19th century (though including a number of Chinese paintings that have long been in Japan) that represent peaks of achievement, or very rare survivals from early periods.
The origins of painting in Japan date well back into Japan's prehistoric period. Simple figural representations, as well as botanical, architectural, and geometric designs are found on Jōmon period pottery and Yayoi period (300 BC – 300 AD) dōtaku bronze bells. Mural paintings with both geometric and figural designs have been found in numerous tumuli dating to the Kofun period and Asuka period (300-700 AD).
Along with the introduction of the Chinese writing system (kanji), Chinese modes of governmental administration, and Buddhism and Hinduism in the Asuka period, many art works were imported into Japan from China and local copies in similar styles began to be produced.
With the further establishment of Buddhism in 6th and 7th century Japan, religious painting flourished and was used to adorn numerous temples erected by the aristocracy. However, Nara period Japan is recognized more for important contributions in the art of sculpture than painting.
The earliest surviving paintings from this period include the murals on the interior walls of the Kondō (金堂) at the temple Hōryūji in Ikaruga, Nara Prefecture. These mural paintings, as well as painted images on the important Tamamushi Shrine include narratives such as jataka, episodes from the life of the historical Buddha, Shakyamuni, in addition to iconic images of buddhas, bodhisattvas, and various minor deities. The style is reminiscent of Chinese painting from the Sui dynasty or the late Sixteen Kingdoms period. However, by the mid-Nara period, paintings in the style of the Tang dynasty became very popular. These also include the wall murals in the Takamatsuzuka Tomb, dating from around 700 AD. This style evolved into the (Kara-e) genre, which remained popular through the early Heian period.
As most of the paintings in the Nara period are religious in nature, the vast majority are by anonymous artists. A large collection of Nara period art, Japanese as well as Chinese Tang Dynasty is preserved at the Shōsō-in, an 8th-century repository formerly owned by Tōdai-ji and currently administered by the Imperial Household Agency.
With the development of the Esoteric Buddhist sects of Shingon and Tendai, painting of the 8th and 9th centuries is characterized by religious imagery, most notably painted Mandala (曼荼羅, mandara). Numerous versions of mandala, most famously the Diamond Realm Mandala and Womb Realm Mandala at Tōji in Kyoto, were created as hanging scrolls, and also as murals on the walls of temples. A noted early example is at the five-story pagoda of Daigo-ji, a temple south of Kyoto.
With the rising importance of Pure Land sects of Japanese Buddhism in the 10th century, new image-types were developed to satisfy the devotional needs of these sects. These include raigōzu (来迎図), which depict Amida Buddha along with attendant bodhisattvas Kannon and Seishi arriving to welcome the souls of the faithful departed to Amida's Western Paradise. A noted early example dating from 1053 are painted on the interior of the Phoenix Hall of the Byōdō-in, a temple in Uji, Kyoto. This is also considered an early example of so-called Yamato-e (大和絵), or "Japanese-style painting," insofar as it includes landscape elements such as soft rolling hills that seem to reflect something of the actual appearance of the landscape of western Japan. Stylistically, however, this type of painting continues to be informed by Tang Dynasty Chinese "blue and green style" landscape painting traditions. "Yamato-e" is an imprecise term that continues to be debated among historians of Japanese art.
The mid-Heian period is seen as the golden age of Yamato-e, which were initially used primarily for sliding doors (fusuma) and folding screens (Ban Dainagon Ekotoba uses a continuous narrative mode in order to emphasize the narrative's forward motion. These two emaki differ stylistically as well, with the rapid brush strokes and light coloring of Ban Dainagon contrasting starkly to the abstracted forms and vibrant mineral pigments of the Genji scrolls. The Siege of the Sanjō Palace is another famous example of this type of painting.
E-maki also serve as some of the earliest and greatest examples of the otoko-e (Men's pictures) and onna-e (Women's pictures) styles of painting. There are many fine differences in the two styles. Although the terms seem to suggest the aesthetic preferences of each gender, historians of Japanese art have long debated the actual meaning of these terms, and they remain unclear. Perhaps most easily noticeable are the differences in subject matter. Onna-e, epitomized by the Tale of Genji handscroll, typically deals with court life and courtly romance while otoko-e, often deal with historical and/or semi-legendary events, particularly battles.
These genres continued on through Kamakura period Japan. E-maki of various kinds continued to be produced; however, the Kamakura period was much more strongly characterized by the art of sculpture, rather than painting.
As most of the paintings in the Heian and Kamakura periods are religious in nature, the vast majority are by anonymous artists.
During the 14th century, the development of the great Zen monasteries in Kamakura and Kyoto had a major impact on the visual arts. Suibokuga, an austere monochrome style of ink painting introduced from Sung and Yuan dynasty China largely replaced the polychrome scroll paintings of the previous period, although some polychrome portraiture remained – primary in the form of chinso paintings of Zen monks.Typical of such painting is the depiction by the priest-painter Kao of the legendary monk Kensu (Hsien-tzu in Chinese) at the moment he achieved enlightenment. This type of painting was executed with quick brush strokes and a minimum of detail.
By the end of the 14th century, monochrome landscape paintings (sansuiga) had found patronage by the ruling Ashikaga family and was the preferred genre among Zen painters, gradually evolving from its Chinese roots to a more Japanese style.
In the late Muromachi period, ink painting had migrated out of the Zen monasteries into the art world in general, as artists from the Kano school and the Ami school adopted the style and themes, but introducing a more plastic and decorative effect that would continue into modern times.
Screen detail depicting arrival of a Western ship, attributed to Kanō Naizen (1570–1616).
In sharp contrast to the previous Muromachi period, the Azuchi Momoyama period was characterized by a grandiose polychrome style, with extensive use of gold and silver foil, and by works on a very large scale. The Kano school, patronized by Oda Nobunaga, Toyotomi Hideyoshi, Tokugawa Ieyasu, and their followers, gained tremendously in size and prestige. Kano Eitoku developed a formula for the creation of monumental landscapes on the sliding doors enclosing a room. These huge screens and wall paintings were commissioned to decorate the castles and palaces of the military nobility. This status continued into the subsequent Edo period, as the Tokugawa bakufu continued to promote the works of the Kano school as the officially sanctioned art for the Shogun, daimyo, and Imperial court.
However, non-Kano school artists and currents existed and developed during the Azuchi-Momoyama period as well, adapting Chinese themes to Japanese materials and aesthetics. One important group was the Tosa school, which developed primarily out of the yamato-e tradition, and which was known mostly for small scale works and illustrations of literary classics in book or emaki format.
Many art historians show the Edo period as a continuation of the Azuchi-Momoyama period. Certainly, during the early Edo period, many of the previous trends in painting continued to be popular; however, a number of new trends also emerged.
One very significant school which arose in the early Edo period was the Rimpa school, which used classical themes, but presented them in a bold, and lavishly decorative format. Sōtatsu in particular evolved a decorative style by re-creating themes from classical literature, using brilliantly colored figures and motifs from the natural world set against gold-leaf backgrounds. A century later, Korin reworked Sōtatsu's style and created visually gorgeous works uniquely his own.
Another important genre which began during Azuchi-Momoyama period, but which reached its full development during the early Edo period was Namban art, both in the depiction of exotic foreigners and in the use of the exotic foreigner style in painting. This genre was centered around the port of Nagasaki, which after the start of the national seclusion policy of the Tokugawa bakufu was the only Japanese port left open to foreign trade, and was thus the conduit by which Chinese and European artistic influences came to Japan. Paintings in this genre include Nagasaki school paintings, and also the Maruyama-Shijo school, which combine Chinese and Western influences with traditional Japanese elements.
A third important trend in the Edo period was the rise of the Bunjinga (literati painting) genre, also known as the Nanga school (Southern Painting school). This genre started as an imitation of the works of Chinese scholar-amateur painters of the Yuan dynasty, whose works and techniques came to Japan in the mid-18th century. Later bunjinga artists considerably modified both the techniques and the subject matter of this genre to create a blending of Japanese and Chinese styles. The exemplars of this style are Ike no Taiga, Uragami Gyokudō, Yosa Buson, Tanomura Chikuden, Tani Bunchō, and Yamamoto Baiitsu.
Due to the Tokugawa Shogunate's policies of fiscal and social austerity, the luxurious modes of these genre and styles were largely limited to the upper strata of society, and were unavailable, if not actually forbidden to the lower classes. The common people developed a separate type of art, the fuzokuga, in which painting depicting scenes from common, everyday life, especially that of the common people, kabuki theatre, prostitutes and landscapes were popular. These paintings in the 16th century gave rise to the semi-mass-produced woodcut print, or ukiyoe, which was one of the defining media of the mid-to-late Edo period.
The prewar period was marked by the division of art into competing European styles and traditional indigenous styles.
During the Meiji government. Western style painting (Yōga) was officially promoted by the government, who sent promising young artists abroad for studies, and who hired foreign artists to come to Japan to establish an art curriculum at Japanese schools.
However, after an initial burst of enthusiasm for western style art, the pendulum swung in the opposite direction, and led by art critic Okakura Kakuzo and educator Ernest Fenollosa, there was a revival of appreciation for traditional Japanese styles (Nihonga). In the 1880s, western style art was banned from official exhibitions and was severely criticized by critics. Supported by Okakura and Fenollosa, the Nihonga style evolved with influences from the European pre-Raphaelite movement and European romanticism.
The Yōga style painters formed the Meiji Bijutsukai (Meiji Fine Arts Society) to hold its own exhibitions and to promote a renewed interest in western art.
In 1907, with the establishment of the Bunten under the aegis of the Ministry of Education, both competing groups found mutual recognition and co-existence, and even began the process towards mutual synthesis.
The Taishō period saw the predominance of Yōga over Nihonga. After long stays in Europe, many artists (including Arishima Ikuma) returned to Japan under the reign of Yoshihito, bringing with them the techniques of impressionism and early post-impressionism. The works of Camille Pissarro, Paul Cézanne and Pierre-Auguste Renoir influenced early Taishō period paintings. However, yōga artists in the Taishō period also tended towards eclecticism, and there was a profusion of dissident artistic movements. These included the Fusain Society (Fyuzankai) which emphasized styles of post-impressionism, especially fauvism. In 1914, the Nikakai (Second Division Society) emerged to oppose the government-sponsored Bunten Exhibition.
Japanese painting during the Taishō period was only mildly influenced by other contemporary European movements, such as neoclassicism and late post-impressionism.
However, interestingly it was resurgent Nihonga, towards mid-1920s, which adopted certain trends from post-impressionism. The second generation of Nihonga artists formed the Japan Fine Arts Academy (Nihon Bijutsuin) to compete against the government-sponsored Bunten, and although yamato-e traditions remained strong, the increasing use of western perspective, and western concepts of space and light began to blur the distinction between Nihonga and yōga.
Japanese painting in the prewar Shōwa period was largely dominated by Yasui Sotaro and Umehara Ryuzaburo, who introduced the concepts of pure art and abstract painting to the Nihonga tradition, and thus created a more interpretative version of that genre. This trend was further developed by Leonard Foujita and the Nika Society, to encompass surrealism. To promote these trends, the Independent Art Association (Dokuritsu Bijutsu Kyokai) was formed in 1931.
During the World War II, government controls and censorship meant that only patriotic themes could be expressed. Many artists were recruited into the government propaganda effort, and critical non-emotional review of their works is only just beginning.
In the postwar period, the government-sponsored Japan Art Academy (Nihon Geijutsuin) was formed in 1947, containing both nihonga and yōga divisions. Government sponsorship of art exhibitions has ended, but has been replaced by private exhibitions, such as the Nitten, on an even larger scale. Although the Nitten was initially the exhibition of the Japan Art Academy, since 1958 it has been run by a separate private corporation. Participation in the Nitten has become almost a prerequisite for nomination to the Japan Art Academy, which in itself is almost an unofficial prerequisite for nomination to the Order of Culture.
The arts of the Edo and prewar periods (1603-1945) was supported by merchants and urban people. Counter to the Edo and prewar periods, arts of the postwar period became popular. After World War II, painters, calligraphers, and printmakers flourished in the big cities, particularly Tokyo, and became preoccupied with the mechanisms of urban life, reflected in the flickering lights, neon colors, and frenetic pace of their abstractions. All the "isms" of the New York-Paris art world were fervently embraced. After the abstractions of the 1960s, the 1970s saw a return to realism strongly flavored by the "op" and "pop" art movements, embodied in the 1980s in the explosive works of Ushio Shinohara. Many such outstanding avant-garde artists worked both in Japan and abroad, winning international prizes. These artists felt that there was "nothing Japanese" about their works, and indeed they belonged to the international school. By the late 1970s, the search for Japanese qualities and a national style caused many artists to reevaluate their artistic ideology and turn away from what some felt were the empty formulas of the West. Contemporary paintings within the modern idiom began to make conscious use of traditional Japanese art forms, devices, and ideologies. A number of mono-ha artists turned to painting to recapture traditional nuances in spatial arrangements, color harmonies, and lyricism.
Japanese-style or nihonga painting continues in a prewar fashion, updating traditional expressions while retaining their intrinsic character. Some artists within this style still paint on silk or paper with traditional colors and ink, while others used new materials, such as acrylics.
Many of the older schools of art, most notably those of the Edo and prewar periods, were still practiced. For example, the decorative naturalism of the rimpa school, characterized by brilliant, pure colors and bleeding washes, was reflected in the work of many artists of the postwar period in the 1980s art of Hikosaka Naoyoshi. The realism of Maruyama Ōkyo's school and the calligraphic and spontaneous Japanese style of the gentlemen-scholars were both widely practiced in the 1980s. Sometimes all of these schools, as well as older ones, such as the Kano school ink traditions, were drawn on by contemporary artists in the Japanese style and in the modern idiom. Many Japanese-style painters were honored with awards and prizes as a result of renewed popular demand for Japanese-style art beginning in the 1970s. More and more, the international modern painters also drew on the Japanese schools as they turned away from Western styles in the 1980s. The tendency had been to synthesize East and West. Some artists had already leapt the gap between the two, as did the outstanding painter Shinoda Toko. Her bold sumi ink abstractions were inspired by traditional calligraphy but realized as lyrical expressions of modern abstraction.
There are also a number of contemporary painters in Japan whose work is largely inspired by anime sub-cultures and other aspects of popular and youth culture. Takashi Murakami is perhaps among the most famous and popular of these, along with and the other artists in his Kaikai Kiki studio collective. His work centers on expressing issues and concerns of postwar Japanese society through what are usually seemingly innocuous forms. He draws heavily from anime and related styles, but produces paintings and sculptures in media more traditionally associated with fine arts, intentionally blurring the lines between commercial and popular art and fine arts.
^ """The Imperial Household Agency "About the Shosoin. Shosoin.kunaicho.go.jp. Retrieved 2013-04-21.


This high quality purple Chevron Amethyst is coated with a layer of red crystalline Hematite on the termination Amethyst activates the third eye center and Hematite is known for its grounding abilities. In this crystal the two forces combine to assist in the grounding of intuitive thoughts or visionary aspirations into daily life. The red color of the Hematite also stimulates the third eye to perceive reality on a higher level. With an incredible display of color, geometry and energy this Third Eye Awakener is a powerful tool for deeper meditation practices or for more advanced levels of crystal healing.


NeXTSTEP 0.8 was the first publicly released version. This file contains a 2 gigabyte hard drive image and the Win32 version of Previous. See the "Nextstep 0.8.txt" file on how to run it.
NeXTSTEP 3.3 was the last full release under the Nextstep name, and the most popular. This file contains a 2 gigabyte hard drive image of Nextstep 3.3 for 68K NeXT and the Win32 version of Previous. See the "Nextstep 3.3.txt" file on how to run it.
Uit ervaringen van duizenden betatesters van Windows NT is gebleken dat Windows NT Setup in de meeste gevallen zonder problemen kan worden uitgevoerd. Er zijn echter situaties waarin wegens conflicterende of niet- compatibele apparatuur problemen kunnen optreden.
This is the 1991 October pre-release of Windows NT, AKA the 1991 COMDEX release. Only a box of these CD's were made, and it is exceptionally rare. This is an installed version on an HPFS drive I found with Qemu all ready to go. Just run oct1991.bat and you'll be running the first public version of Windows NT. There is no passwords, just hit enter. Notice how much it looks and feels like Windows 3.0. There is NO OS/2 or MS-DOS subsystem. The SDK is installed.
Full ISO of the October 1991 beta. Also includes the Windows DDK.
3 Setup Boot Disks for Windows NT 3.51.
Boot floppies in vmware format, can be used in Virtual PC by renaming to .vfd or written to physical floppies using tools like rawwritewin etc.
It was launched in 1995, but months before Windows 95.
Windows NT 4 Terminal Server Edition.
Installer for Service Pack 4 for Windows NT4 Terminal Server Edition, please note this is different to the usual NT4 Service Pack and should only be used with Terminal Server Edition.
Installer for Service Pack 5 for Windows NT4 Terminal Server Edition, please note this is different to the usual NT4 Service Pack and should only be used with Terminal Server Edition.
Back in 2004 this code from 1996 was leaked to the internet. With a *LOT* of TLC you can even compile this. Or use it to gain understanding of how the subsystems work, how filesystems really work, and of course gain some insight into the NT teams inner workings through their source code. Now you can have some of that old razzle, dazzle!
This is probably the earliest known pre-release of the Windows NT operating system. At this stage the included applications look almost identical to Windows 3.1, and there is no DOS or 16-bit support. The zip contains a hard drive image you can use with VirtualBox or QEMU. Keyboard input is messed up when I try it, but it is supposed to work. If anyone knows how to fix that, please post.
Windows NT 3.5. Tip - use VirtualBox, advice to create new VM with 2 disks (C no larger than 2Gb!), quit WINNT setup on boot from CD, run A:fdisk and A:format to setup C: and D:, reboot, quit winnt again, lock c:, a:xcopy32 x:\i386 to d:\i386, run winnt /x /b from there. Good luck.
This is a re-upload that uses 7-zip instead of ARJ used by original uploader. According to uploader's description, the files are from "\i386" of Windows NT 3.1 Setup CD-ROM (Japan) in April, 1994 Microsoft Developement Network CD 4. To install, one must prepare a clean FAT16 partition, copy all i386 files to a dir like C:\ntsetup, boot with DOS boot disk, run C:\ntsetup\winnt.exe. Eventually it will ask for a blank floppy disk, where boot disk will be created, and you will need to reboot with that boot disk to continue Setup. Since this is a pre-release (not final retail) build, it is very picky on hardware that runs it. So far I only succeeded running it with 86Box (Award 486 BIOS).
Workbench operating system for the Commodore Amiga in ADF format, suitable for WinUAE.