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Margarete Depner, geb. Margarete Scherg (* 22. März 1885 in Kronstadt, Österreich-Ungarn; † 2. September 1970 ebenda) war eine siebenbürgisch-sächsische Bildhauerin, Malerin, Zeichnerin und Kunstsammlerin sowie Mäzenin anfangs ungarischer und anschließend rumänischer Staatsangehörigkeit.

Leben und Werk

Herkunft
Margarete Depner wurde als deutschsprachige Siebenbürger Sächsin am 22. März 1885 in Kronstadt im damals zu Ungarn gehörenden Teil der Habsburgermonarchie geboren, einem multiethnischen und multireligiösen Gebiet. Sie war die älteste Tochter von Wilhelm und Julie Scherg, geborene Stenner. Zusammen mit der Schwester Marie (1890–1980) und dem Bruder Wilhelm (1888–1961) wuchs sie in begüterten Verhältnissen auf. Der Vater hatte den Tuchbetrieb seiner Eltern übernommen und das Unternehmen in der Zwischenkriegszeit des 20. Jahrhunderts zu dem bedeutendsten Textilbetrieb Siebenbürgens und der zweitgrößten Fabrik Rumäniens umgestaltet. Die Zahl der Beschäftigten schwankte zu dieser Zeit zwischen 1.400 und 1.900 Personen.

1907 heiratete Margarete Scherg Wilhelm Depner. Er hatte in Wien Medizin studiert und engagierte sich in den 20er und 30er Jahren als Regionalpolitiker. Depner führte eine erfolgreiche Privatklinik für Chirurgie, Orthopädie und Gynäkologie und baute eine der ersten Röntgenkliniken des Landes auf. 1911 kam die Tochter Thea, 1914 kurz vor dem Ersten Weltkrieg die Tochter Maja, und 1919 nach Kriegsende der Sohn Wilhelm zur Welt. Allen drei Kindern wurde eine gute Ausbildung zuteil. Thea studierte Medizin und setzte als Chefärztin in der kommunistischen Zeit im Spital ihres Vaters sein Erbe fort. Maja wurde Historikerin in Kronstadt und Wilhelm Ingenieur. Mit dem Ende des Krieges war die Habsburgermonarchie zerfallen. In Europa kam es zu neuen Grenzziehungen – so auch in Südosteuropa. Siebenbürgen wurde gleich nach dem Friedensschluss 1918 von Österreich abgetrennt und gehörte ab 1920 endgültig zum Königreich Rumänien.

Margarete Depner perfektionierte in der Zwischenkriegszeit auch durch autodidakte Studien ihre künstlerischen Kenntnisse und trat durch gesellschaftspolitisches Engagement hervor. Als Vorsteherin des Evangelischen Waisen- und Kinderschutzvereins und als Begründerin eines Tagesheimes für Kinder gingen ihre Tätigkeiten in das Kronstädter Leben ein. Es war die erste Institution dieser Art in Rumänien, bei der die Kinder – einer Ganztagesschule mit Nachmittagsbetreuung ähnlich – unter der Aufsicht von Lehrpersonal nach dem Unterricht eine spezielle Förderung erfuhren. Auch wurden am familiären Mittagstisch der Depners immer mehrere bedürftige Kinder verpflegt.

Neben ihrem sozialpolitischen Engagement und ihrer im siebenbürgischen Kontext einzigartigen mäzenatischen Funktion entwickelte sich Margarete Depner in der Zwischenkriegszeit zu einer anerkannten Malerin und Bildhauerin. Der künstlerische Durchbruch gelang ihr 1933 mit einer Gesamtschau ihres Werkes in Kronstadt. Während sie zum fixen Bestandteil der siebenbürgischen Kunstszene avancierte und sich vor allem als eigenständige Bildhauerin profilierte, kam es ab 1933 durch den Aufstieg Hitlers in Deutschland auch in Siebenbürgen zu politischen Machtverschiebungen. Während ein großer Teil der deutschsprachigen Minderheit im Nationalsozialismus und einer "Heimkehr ins Reich" neue Hoffnung erblickte, war ein anderer Teil von der Notwendigkeit der Eigenständigkeit der Rumäniendeutschen überzeugt. In der Kunst kam es in formaler Organisation zu Gleichschaltung. Ebenso gelang einigen Kunstschaffenden, so auch Margarete Depner, die Beibehaltung der inhaltlichen Eigenständigkeit.

Als man 1937 die erste Gesamtschau deutscher Künstler in Rumänien in Kronstadt präsentierte, wurde dies bemerkt: "Auffallend ist die verwirrende Vielfalt von Stilen, von scharfen Gegensätzen in der geistigen Haltung und in der Ausdrucksweise."
Auffallend war auch die große Beteiligung von Frauen in der Kunst, ein Drittel der sächsischen Künstler war weiblich. Über Margarete Depners Werke hieß es anerkennend, sie besäßen: "eine ganz seltene Feinnervigkeit und höchste persönliche Kultur."  Diese "persönliche Kultur" wird die Grundlage für ihre geringe Beeinflussbarkeit durch die NS-Ideologie sein.

Nach dem Zweiten Weltkrieg änderten sich in Rumänien die gesellschaftlichen Verhältnisse grundlegend. 1948 kam es zu generellen Enteignungen von Besitz und Produktionsmitteln. Dies betraf die Schergsche Tuchfabrik ebenso wie das Depnersche Sanatorium. Waren während des Nationalsozialismus die deutschsprachigen Siebenbürger privilegiert, so wurde die deutschsprachige Bevölkerung nunmehr als "faschistisch" eingestuft und war Repressionen ausgesetzt. Auch Wilhelm Depner wurde in der Nachkriegszeit dreimal verhaftet. Er genoss jedoch bei den sowjetischen Militärbehörden einen guten Ruf, da er durch seine politische Tätigkeit ab 1933 als Antihitlerist bekannt war. Viele Siebenbürger Deutsche wurden aus Kronstadt zwangsevakuiert. Die Familie Depner beschloss trotz der widrigen Umstände zu bleiben.

Margarete Depner gelang es, in der Volksrepublik Rumänien als Künstlerin anerkannt zu werden. So konnte sie, obwohl ihr Wohnhaus enteignet war, ein eigenes Zimmer und ein weiteres als Atelier behalten. Wollte sie als Künstlerin arbeiten, musste sie der Gewerkschaft beitreten. Als sie sich 1951 um die Aufnahme in die Künstlervereinigung bewarb, wurde ihr diese für die Abteilung Skulptur gewährt. Nun, in der kommunistischen Ära, erhielt die über Sechzigjährige erstmals in ihrem Leben einen öffentlich anerkannten Status. Erst als Pensionistin hatte sie einen professionellen Titel für ihre lebenslange Berufung erhalten. Obwohl ihr die Kunst als Hilfe gegen die Schwierigkeiten im Alltag galt und ihr das psychische Überleben sicherte, hatte sie doch die Leichtigkeit in ihrem Schaffen verloren.

Sie starb am 2. September 1970 und wurde auf dem Kronstädter Friedhof an der Seite ihres Mannes unter der von ihr geschaffenen Skulptur, der Kauernden beerdigt.

Die Mäzenin
Die fast ausschließlich protestantische Gesellschaft der Siebenbürger Sachsen war mehr durch spartanischen Puritanismus denn durch großzügige Kunstförderung geprägt. Margarete Depner war diesbezüglich sowohl als Mensch als auch als Frau eine Ausnahme. Sie besaß durch ihre Herkunft ökonomische Potenz, durch ihre Studien einen guten Geschmack, zudem die richtigen Kontakte und in erster Linie Förderungsambitionen. War sie im Alltagsleben eher anspruchslos, so zeigte sie sich bezüglich der Kunst geradezu verschwenderisch. Über die Jahre hinweg hatte sie über hundert Bilder ihrer siebenbürgischen Kollegen gesammelt. Aber auch internationale Werke bekannter Künstler wie Käthe Kollwitz, Lovis Corinth, Richard Boege oder Ernst Barlach waren Teil ihrer Kollektion.

Von einigen Künstlern besaß sie nicht nur ein Werk, sondern zahlreiche. Eine Liste verzeichnet fünf Bilder von Arthur Coulin, dreiundzwanzig Bilder von Friedrich Miess und vierzehn Werke von Fritz Kimm. Dieser hatte auch einige Auftragsarbeiten von den Familien Scherg und Depner erhalten. Er porträtierte die Eltern, Wilhelm und Juliane Scherg, den Ehemann Wilhelm Depner im Operationssaal, die Kinder Thea, Maja, Wilhelm und selbst seine Kollegin Margarete Depner beim Zeichnen. Das Ölbild von Wilhelm Scherg wurde nach ihrem Tode 1971 dem Brukenthalmuseum in Sibiu/Hermannstadt verkauft. So verdankt dieses der Privatsammlung Margarete Depners zwei Ölwerke Fritz Kimms. Von Friedrich Miess gelangten ebenfalls Bilder in das Brukenthalmuseum. Auf die gleiche Art und Weise kamen zumindest zwei wichtige Werke Grete Csaki-Coponys in öffentlichen Besitz. Die in Kronstadt geborene Malerin hatte mit ihrem Mann und den Kindern Siebenbürgen 1934 zu Gunsten von Stuttgart verlassen, von wo aus sie über Berlin Karriere machte. In ihrer Heimat sind "Die Dächer im Schnee", in Hermannstadt/Sibiu dank des sammlerischen Engagements von Margarete Depner nun im Brukenthalmuseum zentraler Bestandteil der permanenten Ausstellung. "Die Dächer im Schnee" befanden sich zusammen mit acht anderen Bildern im Nachlass von Margarete Depner.

Auch Hans Eder wurde durch Aufträge gefördert. Er malte Depner im Operationssaal und die Schwägerin Marie Depner mit ihrem Strickstrumpf. Dieses Porträt wurde von der Tochter Margarete Depners, Maja Philippi, 1971 dem Brukenthalmuseum verkauft. Auf die gleiche Art und Weise gelangte seine "Bosporuslandschaft" in Museumsbesitz. Margarete Depner besaß in ihrer Privatsammlung für das geplante Museumsprojekt zumindest neun Bilder von Hans Eder. Seine "Hochzeit vom Kanaan" wurde 1983, zum 110. Geburtstag von Wilhelm Depner von den verantwortungsvollen Erben der Schwarzen Kirche in Kronstadt zum Geschenk gemacht. Dort ist sie durch die großzügige Geste der Erben im Osten des nördlichen Seitenschiffes, gleichsam als stilles Vermächtnis Margarete Depners an die Nachgeborenen im öffentlichen Raum für alle Interessierten zu besichtigen. Ihre bislang unterschätzte jedoch im Kontext pionierhafte Rolle als Mäzenin wird durch die Widmung des Kronstädter Komponisten Paul Richter besonders unterstrichen. Das Streichquartett Nr. 2 in d-moll versah er mit folgenden Worten: "Der Künstlerin und Förderin der Kunst Frau Margarethe Depner verehrungsvoll zugeeignet vom Componisten. Hermannstadt 1. Februar 1937."

Ihre Vision war es, ihre private Kunstsammlung in einem eigenen Museum der Öffentlichkeit zu präsentieren. Diese Idee ließ sich im Nachkriegsrumänien wegen fehlender finanzieller Mittel und der Enteignung ihres Hauses, das sie mit zahlreichen Mitbewohnern teilen musste, nicht verwirklichen.

Künstlerischer Werdegang
Die Region Siebenbürgen war, bis in die Zeit des Nationalsozialismus hinein, direkt an die gesamteuropäischen Kunstentwicklungen angeschlossen gewesen. Man verfolgte und reflektierte hier die europäischen Trends und entwickelte sie zu eigenständigen Kunstformen weiter. Dennoch waren die Bildungsmöglichkeiten in Siebenbürgen für Mädchen äußerst eingeschränkt. So besuchte Depner bereits zwischen 1901 und 1902 ein Mädchenpensionat in Weimar. Schon bald begann sie zu zeichnen und konnte sogar 1905 eine eigene Schulung bei Wilhelm Jordan in Berlin, der wichtigsten Metropole für zeitgenössische Kunst, durchsetzen. Der Aufenthalt scheint zudem mit der persönlichen Bekanntschaft der von ihr bewunderten Käthe Kollwitz verbunden gewesen zu sein, deren lebensbiographischen und künstlerischen Ähnlichkeiten in ihren frühen Arbeiten, Kohlezeichnungen und Lithographien offensichtlich sind.

In der Folge fand sie ihre Privatlehrer auch in Kronstadt unter anderem bei Ernst Kühlbrandt (1857–1933). Durch seine gelehrigen Hände waren die meisten siebenbürgischen Künstler gegangen. Sein Zeichenunterricht baute auf exaktes Naturstudium. Arthur Coulin (1869–1912), der in Graz, München, Wien und Rom seine stilistischen Schulungen erhalten hatte und der sowohl durch seine Bilder als auch seine publizierten kunsthistorischen Betrachtungen für die moderne Malerei Siebenbürgens bahnbrechend war, beeinflusste sie in ihren frühen Jahren ebenfalls. Freundschaftliche Beratung kam zudem von Friedrich Miess, Fritz Kimm und Hans Eder.

Im Ersten Weltkrieg flüchtete die Familie nach Budapest. Dort gelang es Dengler, bei István Réti (1872–1945) zahlreiche Zeichenkurse zu belegen. Für die Künstlerin bedeutete dies einen Professionalisierungsschub. Réti hatte in München, Paris und Turin studiert und zählte zu den bedeutendsten Künstlern Ungarns. Er war zudem Mitbegründer der 1896 ins Leben gerufenen Künstlerkolonie von Nagybánya/Baia Mare. Dort fand 1916 Depners erste Ausstellung statt, bei der eines ihrer Ölbilder prämiert wurde.

Nach dem Ersten Weltkrieg tritt in ihren Arbeiten die Beschäftigung mit sozialengagierten Fragen und den kriegsbedingten Erlebnissen klar zu Tage. Im Spital ihres Mannes hatte Margarete Depner immer wieder Verwundete gepflegt und ihre Beobachtungen ins Zentrum ihres Schaffens gestellt. Die arme Witwe, Mutter und Waisenkind und Die Waisenkinder waren offensichtlich erschütterndes Thema einer krisenhaften Zeit und einer wach beobachtenden Künstlerin. Wie wichtig ihr diese pazifistischen Werke waren, zeigt auch die Tatsache, dass sie als Lithografien auf Postkarten vervielfältigt wurden. Das Thema Die Waisenkinder bearbeitete sie zudem nochmals in Öl. 1919 publizierte sie ihre Arbeiten, so die eines Verwundeten mit Kopfbandagen – der Steinzeichnung und die der Betrogenen einer Lithografie – 1920 – beide in der Kunstzeitschrift Das neue Ziel. Diese Entstehungszeit macht deutlich, dass die zugeschriebene Ähnlichkeit mancher ihrer Grafiken mit jenen von Käthe Kollwitz kaum zufällig sein kann.

Margarete Depner traf als fast Vierzigjährige die Entscheidung für die Ölmalerei. Hier setzte sie in den 20er Jahren ihren neuen Schwerpunkt. Zwischen 1925 und 1927 nahm sie in privaten Kunstschulen in München und 1929 in Berlin Malunterricht. 1930 sollte eine Schau einen Gesamtüberblick über die künstlerische Szene in Kronstadt ermöglichen. Margarete Depner beteiligte sich daran mit zahlreichen Werken der unterschiedlichen Genres. Zur zweidimensionalen Arbeit der Grafik und Malerei war demnach Mitte bis Ende der zwanziger Jahre die dreidimensionale Bildhauerei getreten. In diesem Genre wird sie zur Pionierin Siebenbürgens, der die Region die Wiederbelebung der Plastik verdankt. Ihre neue Beschäftigung mit der Bildhauerei brachte sie 1931 zu ausführlicheren Studienzwecken nach Deutschland. Ihr Ziel galt dem aus Wien stammenden Bildhauer Josef Thorak, der unter den Nationalsozialisten mit seiner monumentalen Formgestaltung eine besondere Karriere machte. Der Aufenthalt in seinem Atelier dauerte nur kurz, da sie die Gigantomanie des männlichen Kollegen nicht schätzte. In der Privatschule von Marcel Gimond erhielt sie 1934 in Paris ihre letzte fachliche Fortbildung.

Margarete Depner positionierte sich in den 30er Jahren zunehmend als Bildhauerin und beteiligte sich an zahlreichen Ausstellungen. Sie war jedoch immer wieder mit einer Auswahl ihrer Werke der anderen zwei Genres, der Grafik und Ölmalerei – sowohl bei Ausstellungen in Kronstadt als auch bei den jährlichen Frühlings- und Herbstpräsentationen in Bukarest vertreten. In den zwanziger und dreißiger Jahren entstanden der Großteil ihrer Grafiken und Ölarbeiten und die wichtigsten Skulpturen.

Es war dies nicht nur künstlerisch eine fruchtbare, sondern auch beruflich eine erfolgreiche Zeit, die ihr durch zahlreiche Ausstellungen den Durchbruch in die Öffentlichkeit bescherte. Der erste Höhepunkt ihres Schaffens mündete in der großen Präsentation von 1933. Zusammen mit dem Bildhauer Hans Guggenberger und der Kunsthandwerkerin Rieke Morres wurde ihr Werk im Dezember des Jahres in Kronstadt der Öffentlichkeit vorgestellt. Depner war mit einem Querschnitt durch ihr gesamtes bisheriges Werk vertreten. Zwölf Plastiken und vierzig Bilder zeigten sie als vielfältige Künstlerin. Ihre Schau umfasste Arbeiten der letzten zehn Jahre. Nach Aussage ihres Kollegen Friedrich Miess, war es die schönste Schau, die Kronstadt je erlebt hatte.
Die zentralen Plastiken Margarete Depners waren die Sinkende, die Trauernde und die Kauernde, lebensgroße weibliche Marmorstatuen. Letztere waren Grabfiguren in Hermannstadt und Kronstadt. Margarete Depner war, soweit bekannt, die erste, die in Siebenbürgen eine Plastik in Lebensgröße geschaffen hatte.

Diese Ausstellung bedeutete ihren künstlerischen Durchbruch und zeigte sie als Repräsentantin der Porträtkunst. Sie hält die Balance zwischen Form und Charakter, da sie von sich – der Künstlerin – wie sie sagt, die Freiheit fordert, die Folie der universellen Gesetzlichkeit im Abbild zu erforschen.

Rumänien war 1941 an der Seite des Deutschen Reichs in den Krieg eingetreten. Die siebenbürgische Minderheit sollte durch die mentale Eingliederung ins Deutsche Reich wieder Mehrheitsbewusstsein erhalten und sich anhand ihrer Künstler bei einer Propagandaschau im nationalsozialistischen Deutschland präsentieren. Bereits 1942 wurden in Berlin 120 Werke von 23 Malern, Graphikern und Bildhauer aus den deutschsprachigen Siedlungsgebieten Rumäniens gezeigt. 1944 fand eine zweite große Wanderausstellung deutscher Künstler aus Rumänien statt, bei der nun sogar 28 Kunstschaffende, von denen über ein Viertel weiblich war, mit über 300 Werken Vertretung fanden. Als erste Station der Wanderausstellung fungierte das Künstlerhaus in Wien.

Depner war mit fünf Plastiken vertreten, wobei vier nicht explizit nationalsozialistisch konnotiert waren, so die Sinkende und der Männerkopf. Die Skulptur Sächsisches Bauernmädchen konnte mit dem hochgebundenen Haarkranz des Mädchens leicht im Sinne einer nationalsozialistischen Frauenideologie verwendet werden. Die gleichgeschaltete Presse hob in den Rezensionen in erster Linie die Werke Depners positiv hervor, und so las man von der "Sonderstellung der wundervollen Plastiken deren beseelte Menschengestaltung, virtuose Beherrschung des Technischen und charaktervolle Durcharbeitung sich dem Gedächtnis einprägten."

Die Ausstellung war als Verkaufsschau geplant. In kurzer Zeit hatten vier Fünftel der Werke ihre neuen Besitzer gefunden. Die Sinkende begeisterte zudem den Oberbürgermeister von Stuttgart, der beschloss, sie für die "Stadt der Auslandsdeutschen" zu erwerben. Lange Zeit war die Skulptur nach dem Zweiten Weltkrieg im Institut für Auslandsbeziehungen in Stuttgart aufgestellt. Mittlerweile befindet sie sich als Dauerleihgabe der Galerie der Stadt Stuttgart im Siebenbürgen Institut in Gundelsheim. Viele der Arbeiten erreichten in der Folge der Bombardements ihr Ziel Berlin nicht und blieben verschollen. Für Depner bedeutete dies den Verlust einiger ihrer wichtigsten Arbeiten.

Nach dem Zweiten Weltkrieg geriet sie kunsthistorisch in Vergessenheit. Der Weg zu internationalen Ausstellungen war ihr auch durch den "Eisernen Vorhang" versperrt.

Die Kunst diente ihr jedoch als Rettungsanker und half ihr, Strategien des psychischen Überlebens zu kreieren. Margarete Depner arbeitete trotz räumlicher Enge kontinuierlich weiter. Für die deutsche Minderheit war es schwierig, sich im Kunstbetrieb Rumäniens zu behaupten. Die regelmäßig zweimal jährlich in Bukarest organisierten Kunstschauen wurden zwar von dieser beschickt, ihre Werke fanden dort jedoch wenig Beachtung.

Grafik und Ölmalerei waren nun im Werk Depners zu Gunsten der Plastik zurückgetreten. Unbeirrt von äußeren Stilvorgaben des Sozialistischen Realismus behielt sie ihre Handschrift und realisierte bis zu ihrem Tod 1970 nur die eigenen Kunstvorstellungen. Ihre künstlerische Tätigkeit half ihr über körperliche und seelische Schwächen hinweg. 1968 notierte sie: "Der Gedanke an eine umfassendere Sonderausstellung in meiner Vaterstadt gibt mir noch ein wenig Arbeitsmut und wäre mein Wunsch, aber nicht meine Hoffnung."

Nach ihrem Tod blieb ihr bildnerischer Nachlass mehr als 30 Jahre auf dem Dachboden verborgen, bis er durch Zufall wieder ans Licht kam. In einer Monographie wurde in Wien über ihr Werk 2011 publiziert und seine Bedeutung im internationalen Kontext der Klassischen Moderne beschrieben.

Bedeutung
Margarete Depner war nicht nur Künstlerin, sondern auch sozial engagierte Wohltäterin, Kunstsammlerin und Mäzenin. Als Frau durchbrach sie den ihr zugeschriebenen Rollenrahmen und profilierte sich erfolgreich als Künstlerin. Dennoch konnte sie eine internationale Positionierung innerhalb der Kunstgeschichte bislang vor allem durch die politischen Rahmenbedingungen ihres Wirkungskreises nicht erlangen. Im nationalsozialistischen Deutschland erhielt besonders 1944 mit ihrer Beteiligung an einer umfangreichen Werk- und Verkaufsschau Anerkennung von der gleichgeschalteten öffentlichen Meinung. Kunstgeschichtlich vergessen, machte erst die Wiederentdeckung und Aufbereitung ihres bildnerischen Nachlasses im Jahre 2011 eine begründete Einordnung in die Kunst der Moderne möglich.

Sie wurde 1885 in Kronstadt als Österreicherin geboren und starb 1970 ebenda als rumänische Staatsbürgerin. Ihr Leben spiegelt die radikalen politischen Einschnitte, die ihr Geburts-, Wirkungs- und Sterbeort – Kronstadt – zwischen der k.u.k. Habsburgermonarchie über zwei Weltkriege hinweg zum rumänischen Kommunismus erlebte. Die sogenannte Klassische Moderne findet in Siebenbürgen durch das multiethnische Milieu eine spezielle Ausprägung und ist durch Stilpluralismus gekennzeichnet. Sowohl während der historischen Zugehörigkeit zur Habsburgermonarchie als auch später als Teil Rumäniens waren zuerst Hermannstadt/Sibiu und danach Kronstadt/Braşov bedeutende Kunstzentren Siebenbürgens. Hier verfolgte und reflektierte man die europäischen Trends und entwickelte sie zu eigenen Kunstformen weiter.

Viele der Kunstschaffenden Siebenbürgens verließen allerdings das Gebiet, um im Ausland Berühmtheit zu erlangen. Margarete Depner war eine der ganz wenigen, die bis zu ihrem Tod 1970 in Kronstadt wirkten, was sie zu einer "Verschollenen" der Kunstgeschichte machte. Sie entwickelte lebenslang ihren eigenen Stil, setzte sich zwar mit den Stilrichtungen der Jahrhundertwende und den Trends der Zwischenkriegszeit auseinander, wollte sich aber keinem der voneinander abgegrenzten Gestaltungsformen eindeutig zuordnen lassen.

Der Hermannstädter Kunsthistorikerin Gudrun Liane Ittu (2011) zufolge war Margarete Depner "eine äußerst facettenreiche Künstlerin. Als Grafikerin, Malerin und Bildhauerin zählt sie zu den bedeutendsten Vertreterinnen der klassischen Moderne Siebenbürgens." Im europäischen Kontext kommentiert die Wiener Kunsthistorikerin Sabine Plakolm-Forsthuber (2011): "Das Ergebnis war ein koloristisch äußerst differenzierter und ansprechender expressiver Realismus, der innerhalb der siebenbürgischen Kunst ein außergewöhnliches und in der mitteleuropäischen ein hohes, qualitatives Niveau erreichte."

Ihr sichtbares Lebenswerk besteht, abgesehen von den Stillleben und Landschaftsbildern in erster Linie aus Männer-, Frauen- und Kinderporträts oder -büsten und -skulpturen. Von der Grafik herkommend, legte sie später ihren Schwerpunkt auf die Ölmalerei und danach auf die Skulptur.

Literatur
 Lisa Fischer: Wiederentdeckt: Margarete Depner (1885–1970) Meisterin des Porträts der Siebenbürgischen Klassischen Moderne. Wien 2011, S. 9–74, ISBN 978-3-205-78618-4.
 Ittu, Gudrun Liane: Margarete Depner (1885–1970) – eine Porträtkünstlerin par excellence. In: Wiederentdeckt Margarete Depner (1885–1970) Meisterin des Porträts der Siebenbürgischen Klassischen Moderne, Wien 2011, S. 75–104. ISBN 978-3-205-78618-4.
 Sabine Plakolm-Forsthuber: Margarete Depner – Eine wiederentdeckte Malerin der Moderne. In: Wiederentdeckt Margarete Depner (1885–1970) Meisterin des Porträts der Siebenbürgischen Klassischen Moderne, Wien 2011, S. 105–131, ISBN 978-3-205-78618-4.
Udrescu, Doina: Deutsche Kunst aus Siebenbürgen in den Sammlungen des Brukenthalmuseums Hermannstadt (1800–1959), Hermannstadt 2003, ISBN 973-0-029008.
Philippi, Maja: 200 Jahre Familie Scherg in Kronstadt. Vom Wollenzieher Michael Schürge zur Tuchfabrik Wilhelm Scherg. In: Siebenbürgisches Archiv, Siebenbürgische Familien im sozialen Wandel, hrsg. von Balduin Herter, Wien 1993, S. 5–152.
Myss, Walter: Kunst in Siebenbürgen, Thaur bei Innsbruck 1991, ISBN 3-85373-127-9.
Richter, O.: Gedanken zum 100. Geburtstag der Margarete Depner, in: Südostdeutsche Vierteljahresblätter, 34. Jg. Folge 3, München 1985.
Wittstock-Reich, Rohtraut: Erhabene Schönheit in gegenständlicher Form. Vor hundert Jahren wurde die Bildhauerin Margarete Depner geboren, in: Neuer Weg, 23. März 1985.
Restrospectivǎ Margarete Depner, Kronstadt 1975.
Weiss, Helfried: Ein arbeitsreiches Leben, Margarete Depner zum Gedenken, in: Neuer Weg 15. September 1970.
Die Bildhauerin Margarete Depner, Gedicht. In: Meschendörfer, Adolf, Gedichte, Bukarest 1967, S. 75.
Scharffader, Joachim: Sinnvolle Schönheit. Betrachtungen zum bildhauerischen Schaffen Margarete Depners. In: Neuer Weg, 12. November 1966.
Depner, Margarete. "Nichts Neues" – über Kunst und Künstler... In: Aus Kronstädter Gärten, Kronstadt 1930, hrsg. von Adolf Meschendörfer, S. 184–187.

Weblinks

 Margarete Depner - Eine Kronstädter Persönlichkeit. In: Demokratisches Forum der Deutschen in Kronstadt
 Margarete Depners "Sinkende" im Kunstmuseum Stuttgart in: Siebenbürgische Zeitung Online, 2. Juli 2020

Einzelnachweise

Bildhauer (Rumänien)
Maler (Rumänien)
Kunstmäzen
Kunstsammler
Zeichner (Rumänien)
Maler der Moderne
Bildhauer der Moderne
Mäzen
Person (Siebenbürgen)
Person (Transleithanien)
Rumäniendeutscher
Rumäne
Geboren 1885
Gestorben 1970
Frau

redpajama_set_name: RedPajamaWikipedia


Photograph used for a story in the Daily Oklahoman newspaper. Caption: "Posing with a model of the new OCU statue are the donor E. W. Lippert, right, and the sculptor, Leonard McMurry."
Lucas, Jim December 11, 1958.
Head Of Lippert Bros. Construction Co.
LIPPERT, E.W. / HEAD OF LIPPERT BROS. CONSTRUCTION CO.
Lucas, Jim. [Photograph 2012.201.B1258.0003], photograph, December 11, 1958; (https://gateway.okhistory.org/ark:/67531/metadc520257/: accessed April 26, 2019), The Gateway to Oklahoma History, https://gateway.okhistory.org; crediting Oklahoma Historical Society.


"Great bunch of guys you brought up to see our new shop. I admire their can-do attitude, and it is refreshing to hear someone involved in agriculture talking about something other than doom and gloom. Their attitude reminds me of the attitude at Forest Construction, always focusing on what is possible instead of the alternative. I am long overdue in thanking you and your crew for the great work you have done in both our freestall project and our new shop. As you know I let out bids on the shop project, but there really wasn't any doubt who I wanted to build it. I am always impressed that you come in ON BUDGET, ON TIME. I am very particular when it comes to quality workmanship, and you have never disappointed me. I am also very impressed that when your crews leave the worksite at the end of the day or the end of the project, everything is cleaned up and put away! Keep up the great work, and if I ever have any more building projects, you will certainly be at the top of the list."
"We met with Forest Construction, and they had a lot of good ideas. They showed us some buildings they built, and we like what they did......The crews were puncutal....worked long hours....cleaned up after themselves....finished in record time....."
"100% satisfied with their building project."
"The building is second to none, and the quality is outstanding."
"I am very delighted with my building.....the crew was excellent....the personnel at Forest were great to work with...."
"Crew did a superb job, cleaned up very well.....I would highly recomend Forest Construction."


text:
Review: "The Highwaymen" is a drag
"The Highwaymen" tries desperately to take the heart-pounding excitement of classic film "Bonnie and Clyde" but fails to deliver a truly perilous, nail-biting plot. The story drags and it is hard to root for the bland characters on screen.
By Tyler Obropta — Staff writer
The Highwaymen
Few images have been burned into the American consciousness like the young robbers' violent demise in Arthur Penn's "Bonnie and Clyde." Bullets punch through the car into Bonnie and catch Clyde in an agonizing slow-motion free-fall, a haunting, iconic scene that looms over John Lee Hancock's new Netflix drama, "The Highwaymen." It's about the Texas Rangers who riddled Bonnie and Clyde with bullets, and Hancock's film never leaves the shadow of Penn's 1967 take on the story.
It's the height of Bonnie and Clyde's crime spree, and the Texas Department of Corrections chief (John Carroll Lynch) needs someone reliable to bring them down. So he pulls former Texas Ranger Frank Hamer (Kevin Costner) back into the game for one last job. This running, gunning lawman tale is the kind of movie that Costner, between "The Untouchables" and his new "Yellowstone" series, could do in his sleep. Frank feels bad about leaving his wife (Kim Dickens) to return to his gunslinging ways, but in the machismo world of "The Highwaymen," the husband's duty lies away from the homestead in getting his hands dirty and killing outlaws in the name of good ol' American justice.
Frank's fellow retired ranger, Maney Gault (Woody Harrelson), also joins the hunt. Together, they're two washed-up old men eager for another crack at life, hoping to regain the masculinity that age wrestled out of them. Absorbed in the fool's errand of tracking down and killing the only two people who seem to bring 1930s America any kind of joy, Frank and Maney spend most of their cross-state manhunt soul-searching. It all builds up to a riff on that momentous roadside murder, which looms, sword of Damocles–style, over the entire story.
Harrelson, less devious and more wily than he was in "True Detective," lures as much heart as he can out of a moribund script. He's the good cop of the pair, whereas Frank mostly just grumbles until he has to point a revolver in someone's face. With a better, livelier screenplay, "The Highwaymen" might feel like the "Rosencrantz and Guildenstern" of the "Bonnie and Clyde" story, but the film is only concerned with Frank and Maney's moral posturing, throwing in a dash of violence here and there to keep viewers from tuning into "Tidying Up with Marie Kondo" instead.
This doesn't stop "The Highwaymen" from twiddling its thumbs. Frank and Maney don't even meet until 28 minutes into the movie. Scenes drag on mercilessly, especially the tedious opening. It's a bleak, utterly charmless sequence set on a Texas prison farm, where Bonnie and Clyde stage a prison break to free some friends. Cinematographer John Schwartzman's crisp, beautiful work is cut into a flashbang scene, each shot zipping by before it can build suspense or leave an impression.
Generally, the film lacks the patience of the 1967 version. Despite having a less interesting story, "The Highwaymen" runs 20 minutes longer. As if to keep one from noticing, the cuts come bewilderingly fast, especially in a car chase set in a dusty field where it feels as though even the editor didn't know which car was doing what.
There's little excitement to be found in "The Highwaymen" and hardly any chemistry between Costner and Harrelson, save for a "Notebook"-style heart–to–heart they share in the rain. Besides work, the men have no passions or desires, and whenever they're not bantering, they're reliving their traumatic days as Texas Rangers. Even then, they're better off than Bonnie and Clyde, who have so little personality that they might as well be gun-wielding sacks of flour.
The violence is also neutered, and oddly clean. Even today, Bonnie and Clyde are romanticized nonconformist folk heroes, with most ignoring the small businesses they robbed and the bodies they left behind. In the film, the public loves them — Maney can't get a clear shot in because throngs of adoring fans rush Bonnie and Clyde's car as soon as they get into town.
But this movie needs the audience to root for their eventual killers, so where's the menace of Bonnie and Clyde? When the duo guns down police officers on the road, the murders are either shown in sterile, spacious wides, or the film cuts away just before Bonnie delivers the kill shot. The outlaws hold no threat, so the audience has no reason to cheer on the stoic lawmen. For all we know, "The Highwaymen" is about the brave bandits who galvanize the poor huddled Hooverville masses and evade the armed-to-the-teeth sexless Puritans who try to stop them.
Review: Netflix film "The Dirt" is a messy retelling
By Arleigh Rodgers | Apr 1, 2019
Review: "Five Feet Apart" is truly heartbreaking and genuine
By Olivia Riggio | Mar 27, 2019
Review: "Triple Frontier" lacks ingenuity and sincerity
By Arleigh Rodgers | Mar 24, 2019
Blue and GoldBombersbonnie and clydeithacaIthaca CollegeIthacanIthacan Life & Cultureithacan onlineNetflixReviewreviewsthe highwaymenThe IthacanThe Ithacan Onlinethe ithacan reviewthe ithacan reviews

redpajama_set_name: RedPajamaCommonCrawl


text:
Photo: Harrier (ex-Tide Carrier); Image by Norwegian Coast Guard
Home Green marine Norwegian shipowner sentenced for involvement in Harrier's scrapping case
Norwegian shipowner sentenced for involvement in Harrier's scrapping case
December 1, 2020, by Jasmina Ovcina
Norwegian shipowner Georg Eide has been sentenced for having aided Singapore-based cash buyer Wirana Shipping in an attempt to export barge carrier Harrier (ex-Tide Carrier) to a scrapyard in Pakistan back in 2017.
A district court in Sunnhordland, Norway convicted the shipowner to six months in prison for trying to illegally send the ship for scrapping on South Asian beaches in violation of Norwegian waste exports regulations.
Specifically, Norway prohibits exports of waste from rich to poor countries that don't have satisfactory systems to handle such waste in an environmentally sound and safe manner.
"Eide has been charged with complicity in violation of international waste law. The judgement acts as a stark warning that dodgy deals with cash buyers aimed at scrapping vessels on South Asian beaches, where there is no capacity and infrastructure to recycle and dispose of hazardous wastes in a safe and environmentally sound manner, is a serious crime," a spokesperson of NGO Shipbreaking Platform told Offshore Energy-Green Marine in a comment.
"It also cautions that due diligence is a must for not only ship owners, but also insurers and Maritime Warranty Surveyors, to avoid any business relationship with companies that have terrible track records."
In 2019, Norwegian authorities imposed a NOK 7 million ($ 765,000) fine on Wirana Shipping over the company's role in the disputed dismantling case.
After being laid up for many years on the Norwegian west coast, the vessel almost ran aground in February 2017 as its engine stopped working outside the Norwegian coast of Jaeren, shortly after it set sail for scrapping yards in Pakistan. The Norwegian Coast Guard was forced to trigger a salvage operation.
Acting as a so-called "commercial manager" of the voyage, Wirana attempted to sail the ship illegally to Pakistan without permission from the Norwegian Environment Agency.
Norwegian authorities had allowed the ship to leave Norway based on fraudulent information that the vessel was heading for repair works in Oman.
The 1989-built ship was arrested in April 2017 as Norwegian environmental authorities found evidence indicating the ship was under a "break up voyage" insurance from Norway to Gadani, Pakistan. They also found unidentified and excessive amounts of sludge and fuel oils.
Norway Arrests Ship Previously Sold to Gadani Scrapyard
Upon the arrest, the Shipbreaking Platform said that it had contacted the Norwegian owners Eide Group to make them aware of the laws governing end-of-life ships and that exporting the vessel to a South Asian beaching yard would be in breach of the European Waste Shipment Regulation and the UN Basel Convention.
As informed, Eide Group denied then that the vessel would be scrapped.
The Norwegian Environment Agency said that the ship is not allowed to leave Norway unless it is to sail to a ship recycling destination in line with international and European hazardous waste laws.
This was the first arrest of a vessel for the illegal export of hazardous waste in the country.
The NGO Shipbreaking Platform unveiled reports of the sale in 2015. Before trying to sail to Pakistan, the ship had changed flag and it was renamed, a common practice among cash buyers for end-of-life tonnage.
Tide Carrier was eventually dismantled at a Turkish shipbreaking yard in 2018.
View post tag: Harrier
View post tag: NGO Shipbreaking Platform
View post tag: Norway
View post tag: scrapping
NGO Shipbreaking: Beaching of ships in Bangladesh continues to claim lives
At least five workers have lost their lives while dismantling out of service ships at shipbreaking f...
Shipbreaking in full swing in South Asia despite COVID-19
There were a total of 170 ships broken in the third quarter of 2020. Of these, 65% or 110 ships were...
NGO: Two Eimskip boxships sent to dirty scrapyards in India
Icelandic transportation Eimskip has reportedly sold two of its containerships to dirty and dangerou...
South Asian shipbreakers can't be included in EU list
Environmental organizations are warning that the European Union's legislation allowing the exp...
Shipbreaking cartel in Bangladesh comes to an end
Oil industry scolds Norway's plan to increase carbon tax
Edison sells Norwegian subsidiary to Sval Energi
Senior Structural Engineer
Nor-Shipping
Alewijnse
Trusted partner in electric technology Over the years, Alewijnse has been a trusted partner for various owners, operators and shipyards in new builds, mid-life extension programs and ad hoc service requests. Being a frontrunner in both innovative energy, propulsion, automation solutions we are a unique partner to keep your assets in a safe, reliable and […]


text:
Q: Adding new row and positioning pagination for that row? I am making a dynamic table. I have a working add button which adds rows to the table, I also have a working pagination. Now I wont to combine this two.
When I add a new row I wont to be placed at the last page of pagination where the row is created. For now I always stay at the first page of pagination and manually go to last page.
Can somebody help? Thanks in advance!
script.js
(function () {
    "use strict";

var table = angular.module('myTable', ['angularUtils.directives.dirPagination','ngStorage']);

table.controller('TodoCtrl', function ($scope, $localStorage) {
    $scope.$storage = $localStorage.$default({
        "todos":[
            { "id":1,"text":"drive a car"},
            { "id":2,"text":"go to work"}
        ]
    });
    $scope.todoData = $localStorage.todos;
});

$scope.addRow = function (arr) {
            console.log(arr);
            arr.push({'id':$scope.id, 'text': $scope.text});
            };
});

index.html
<button type="button" class="btn btn-default btn-block" ng-click="addRow($storage.todos)">New record</button>

                    {{ todo.id }}

                    {{ todo.text }}

<dir-pagination-controls
    max-size="5"
    direction-links="true"
    boundary-links="true" >
</dir-pagination-controls>

A: Edited:
add current-page="myCurrentPage" to the tag you have dir-paginate in, in your example the
 tag. Add $scope.myCurrentPage = Math.ceil($scope.todos.length/$scope.entryLimit); to your addDeveloperRow function.
Working Plunker

redpajama_set_name: RedPajamaStackExchange


SPEX2412T replaced the EX2412T model in 2018.
• SPEX2412T-EE: Emergency Eyewash. Meets ANSI tepid water requirements. Maximum output temperature set to 90°F. Cannot be overriden by user setting on the control panel.


ALL NEW EVENT: Firework Frank is bringing some colorful, sparkly fun to your farm!
– Prepare for the most extravagant fireworks show ever!
– ADVANCE through 5 phases to earn rewards like Keys, Nails & more.
– WIN a temporary visit from Firework Frank, who will help you in the next Event!
tempohari.com — Escape to the world of farming, friends and fun! Go on farm adventures to collect rare goods and craft new recipes. Raise animals and grow your farm with friends. Join a farm Co-Op to trade and share or play on your own in Anonymous Mode. You can play FarmVille anytime, anywhere… even when not connected to the internet. Best of all, the world's most popular farming game is free to play!


text:
How Republican lawmakers endangered their own colleagues during the Capitol siege
Alex Henderson, AlterNet
Fox News/screen grab
When a violent mob of far-right extremists stormed the U.S. Capitol Building on Wednesday, members of Congress naturally feared for their safety and were taken to a secure location. Punchbowl News reports that according to a member of the U.S. House of Representatives, "at least 50" House Republicans put their colleagues at risk in that location by refusing to wear masks.
The House lawmaker told Punchbowl that "a severe COVID outbreak" is "coming" because of those House Republicans — who were "asked repeatedly" to wear masks inside the secure location but refused. According to Punchbowl's source, "Older Dem members pleaded, and they wouldn't do it."
CNN's Jake Tapper, after seeing Punchbowl's report, bluntly tweeted:
Here are some more reactions:


In the last few months, I've been told a dozen times that we DSA members are Marxists. This has come from a variety of sources. I've heard it said by old Trotskyists who hope to offer a unified vision of the left. It has been told to me by younger members who probably never read a word of Das Kapital. I've heard it in lectures given by the political education working group to new members and seen it on Chicago DSA's baseball t-shirts.
However, in the light of these various announcements I have a confession to make: I'm not a Marxist, nor are a number of other DSA members whom I have spoken to.
As I was a philosophy major in college with left-wing sympathies, I have read a great deal of Marx and commentaries on him. I find his diagnoses for what is wrong with capitalism to be profound and generally accurate. He deserves praise for his ideas on the alienation of labor. He is, to my understanding, the first person to even suggest that demand-side failures were possible in a market system.
In other areas, I find his theories lacking. His theory of history is unscientific and impossible to use in a way that doesn't demonstrate that he was correct, even when the data seems to suggest otherwise. I maintain that his visions of an all-consuming and unpreventable final revolution have more in common with a religious view of the apocalypse than a political philosophy based in reason. I am one of many who find his economic ideas to be flawed.
However, even without being a Marxist, I am still a democratic socialist and active member of the DSA. I just have other philosophical justifications for it.
My political philosophy is primarily influenced by the liberal philosopher John Rawls. His famous book A Theory of Justice brilliantly argues for social democracy using liberal principles of justice. These principals demand equal rights for all and a just distribution of wealth which benefits everyone and forbids inequalities that serve only the rich. Rawls also understood that a vastly unequal society would suffer harms to its liberal institutions, which further mandates the correction of massive inequalities.
While his theory is liberal, it doesn't forbid public ownership of the means of production. Rawls' primary concern isn't who owns the means of production, but rather what becomes of the wealth that society generates overall.
He explicitly states that both socialist and capitalist societies could satisfy his principals. Such a socialist society would require a large measure of democratic control. Such a capitalist society would require significant protections for the worker, regulations of the market, and social benefits available to everyone.
Since I largely agree with Rawls, the question is if I should strive to help build a social democratic society in the vein of the Scandinavian model on steroids or a democratic socialist one.
Given the rollback of social democracy around the world over the last few decades even in countries where social democratic parties were the strongest, I am convinced that the only way to assure a just distribution of goods over the long run and assure the success of liberty and equality is to give control of the means of production to the workers.
In this way, I am a socialist for liberal reasons.
These philosophical considerations probably do make me a more moderate socialist than others, but this does not mean that I cannot find common ground with my comrades on the far-left. My 80 percent friend is not my 20 percent enemy.
While I disagree with the end goals and analysis of my Marxist comrades, I agree with them on who should own the means of production. Politics often makes for strange bedfellows and the left has always had problems with this. If we want to avoid the mistakes of the 20th Century, we must not drive away those who largely agree with us over small ideological distinctions.
Marxists of the DSA unite and keep up the good work, but remember that some of us are on your side without sharing your ideology.


text:
Q: Oracle get all combinations possibilities with recursivity I really need your help for an SQL request.
I have a table like this :
ID|LABEL|PRICE
1 |A    |10
2 |B    |15
3 |C    |20
4 |D    |30
5 |E    |35

I want to get all combinations possibilies with an sql request (or pl/sql procedure) likes this :
A, AB, AC, AD, AE, ABC, ABD, ABE, AC, ABCD, ABCE, ABCDE... DE, BDE, CE...

Each label can appear only one time, for example, ABA is not possible, i think it's like a factorial mathematical function?
I try with "start with" "connect by" but I don't understand how to correctly use it.
Do you have an idea to get this?
Thanks for your help.
Charles

A: Try this query
select sys_connect_by_path( label, ';' )
from table1
connect by nocycle label <> prior label
;

or this one:
select sys_connect_by_path( label, ';' )
from table1
connect by nocycle label > prior label
;

========== EDIT==========

To get a sum of prices, you can use a subquery factoring clause, in this way:
WITH abc( label, pricesum, pricelist, lastlabel) AS (
     SELECT label,
            price,
            cast( price as varchar2(1000)),
            label
     FROM table1
     UNION ALL
     SELECT a.label || ';' || b.label,
            a.price + b.price,
            a.pricelist|| '+'||b.price ,
            b.label
     FROM abc a
     JOIN table1 b
     ON b.label > a.lastlabel
) CYCLE label SET cycle TO 1 DEFAULT 0
SELECT * FROM abc;

The third column pricelist shows a list of all prices thar are being summed,
for example:
label pricesum pricelist  lastlabel
A       10     10           A   0
B       15     15           B   0
A;B     25     10+15        B   0
A;C     30     10+20        C   0
A;D     40     10+30        D   0
A;C;D   60     10+20+30     D   0
A;C;E   65     10+20+35     E   0
A;B;D;E 90     10+15+30+35  E   0
A;C;D;E 95     10+20+30+35  E   0
B;C;D;E 100    15+20+30+35  E   0


Probate is a separate index as this same address. Probate fax is same as main fax number.
Contact the Presidio County Office of the County Clerk if you would like to find vital records, such as birth, death, marriage, divorce, and real estate records.
OnlineSearches.com - Search for Presidio County public records by town, record type, and/or state.


We have another trade to announce, as the Canadiens bring back a familiar face.
The Montreal Canadiens have acquired Dale Weise and Christian Folin from the Philadelphia Flyers in exchange for Byron Froese and David Schlemko.
Weise will be returning to the Canadiens after being traded away in 2016 to the Chicago Blackhawks. In 152 games with the Flyers, he has scored 17 goals and 34 points over 3 seasons.
Christian Folin has had a difficult time establishing himself on an NHL team. The Canadiens will be his 4th NHL team during the 28-year old's 209-game career. He has scored 7 goals and 38 points over his career with Minnesota, Los Angeles, and Philadelphia.
Heading back the other way is 31-year old David Schlemko. Since being acquired by the Canadiens shortly after the Las Vegas expansion draft, he has been plagued by several injuries and ultimately lost his place in the NHL. He has scored 18 goals and 94 points over his 415 career games.
The last piece in the deal is 27-year old Byron Froese. He has spent the majority of his career in the AHL, only suiting up for 110 games, scoring 5 goals and 11 assists in that time.
Who do you think won this trade? Comment below.


I'll be up-front about something here; I don't particularly like ActiveX. I understand a lot of the reasons for creating it, and I won't go so far as to claim that it shouldn't exist or anything like that; in fact, it does very well for certain types of things. The main thing I don't like about it is the complexity; it's not something that you just pick up and start using one day. You have to do a lot of research to understand what is happening, and though I've been working on ActiveX Controls hosted in Internet Explorer for over a year now, there is still a lot I don't understand about what is really happening under the covers.
Because of this, I am a big fan of NPAPI. I think it's a great technology. It's simple. It's straightforward. It provides an interface for one purpose, and that is to allow 3rd party developers to write browser plugins. It's great. But, there is a problem: in my world, you can't just say "I like Firefox better than IE, so I'm not going to support IE." Why? I will make no claims here about security, usability, viability, or even disability of any browsers. I will simply refer to one statistic: according to the w3schools browser statistics, Internet Explorer accounted for over 25% of the total web traffic every month last year.
So we find the classic challenge of all browser plugin developers: Internet Explorer only supports ActiveX controls, other browsers support NPAPI, and a plugin written for one isn't neccesarily going to be easy to just port to the other. Thus was born FireBreath, in an attempt to solve this issue. Today, however, I want to address only one piece of the solution that we use in FireBreath: How to create a scripting interface that will be "write once, run anywhere" on web browsers.
This was, in short, a nightmare.
Like the NPObject and IDispatch types that provide its interface with the browser, JSAPI is reference counted, so that it will get destroyed whenever the browser. Here are the method prototypes from JSAPI.h to satisfy the requirements mentioned above. You can also look at the full source of JSAPI.h if you want.
Not much is required; one call to find out if the method exists, one to invoke the method. Notice that the arguments is passed in a STL vector of type variant; you can pass any datatypes in here, but that will be limited by the Browser-level wrapper that converts the arguments from the browser datatype (VARIANT on IE, NPVariant on firefox) to the JSAPI variant datatype. I'll discuss this in more detail in a later post.
You'll notice one strange thing right off the bat here; there are two of each method. One takes a std::string for the first parameter, one takes an int. Any thoughts on why?
Events are by far the most difficult piece of this whole class; we have to make allowances for multiple methods of registering events and multiple browsers' methods for keeping track of the handlers. The BrowserObjectAPI type that you see used here is also a JSAPI object, but one that wraps a browser object (an NPObject or a IDispatch object, depending on the browser).
Through a "user-defined" event registering method implemented by our browser scripting object wrapper (this is used by all objects on firefox and all but the root object on IE).
These three types are the reason that we have three different register/unregister methods on the browser for events. When FireEvent is called by the JSAPI child object (that you write), it iterates through all possible event handlers and invokes them asynchronously. (Events have to be invoked on the main UI thread of the plugin, so the InvokeAsync call on BrowserObjectAPI automatically makes sure that is where it gets called; hence it's async).
In the mean time, if you like where this is going and want to play with FireBreath and see JSAPI in action for yourself, there are some really easy getting started instructions on the FireBreath project page.
Hi I am reading about Internet explorer extensibility and I found Browser Extensions of which (Shortcut menu extensions,Toolbars,Explorer Bars,Browser Helper Objects) and Content Extensions (Active Documents, ActiveX Controls, etc) now my problem when I delved further I find BHO and ActiveX Controls a bit confusing because they seem to both have the same power. Wikipedia makes it even worst by stating "The Adobe Acrobat plugin that allows Internet Explorer users to read PDF files within their browser is a BHO." is a plugin a BHO or an ActiveX control ?
gee, I'm sure slow at answering comments sometimes. Sorry about that. Technically an ActiveX control can be a BHO — BHO just means "Browser Helper Object". I believe that BHOs must be ActiveX objects, in fact, though I dont think they have to be controls.
BHOs have a little more capability to tie into the browser than a normal ActiveX Control, however; you might say that a BHO is analogous to an Extension in FireFox, whereas an ActiveX Control is like a NPAPI plugin. Of course, an ActiveX Control could also be a BHO, and vise versa; they are not mutally exclusive.


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Robert Jeffress Is Definitely Not Mad About This Video of Evangelicals and the President
Reports of Vaping-Related Hospitalizations Are Concentrated in North Texas, Leaving...
Where the Sidewalk (and Money) Ends, or: It Won't Be Easy Implemeting Complete Streets
Robert Wilonsky
Robert Wilonsky | February 27, 2012 | 11:54am
At the end of last week we glanced at those surveys conducted during those citywide Complete Streets workshops put on by City Hall beginning last fall, input from which will go toward the manual Sustainable Development's hoping to put together before year's end. Some of which, incidentally, will be covered during today's meeting of the council's Transportation and Environment Committee, during the presentation titled Mayor's Grow South Initiative and Transportation and Environment Committee Goals. But Peer Chacko, second-in-command at Sustainable Development, cautions: Looking at those "common threads" contained within this charts and surveys -- everyone wants, for instance, and more trees and better and wider sidewalks and fewer utility poles -- isn't the way to go.
Says he, the exercises, held all over town, were about "finding more unique preferences from one corridor to the next. We're trying to get a pulse of where the preferences are. In some places, people want everything, and we know we'll have to have some kind of dialogue on where the give is. You can't have everything. But there are others where you can see clear priorities -- where people aren't hot on bike lanes but are big on sidewalks and safety and where lighting's a big deal."
In coming weeks the city will convene even more committees to study the results and decide where to experiment 'round the city with long-term "demonstrations" showing, say, how narrowing lanes on Ross might impact traffic or how widening sidewalks somewhere else might improve a certain neighborhood's walkability and reduce crime and grow businesses. Below you'll find a brief Q&A with Chacko about what comes next and why -- and how a city yet again facing a budget shortfall with a necessities-only bond package hopes to pay for it.
What do you see when you look at the Big Picture assembled by these workshops?
We're not looking at it from that standpoint. We're looking at where to guide our approach in these 14 specific instances. And the less sexy aspect of this is we're trying to put together the Complete Streets manual, and we've come up with a typology of street types. Each of these fall into these street types, and we're using that in our manual to create general guidance that will be applicable to those types of streets.
For instance, you can take a six-lane arterial street and see they don't want reduced lanes, but they do want wider sidewalks. So then, how do we take the right of way we have and come up with concepts to fit that type of street? We'll look at short-term and long-term fixes. The long-term will involve moving curb lines, and that comes with significant money. And im the other instances, on a tighter budget we can see some amount of change in the short term. But it'll take bond money in all 14 instances. And as you've noticed, just striping bike lanes costs a ton of money.
In the case of all 14 projects we're talking about money we don't have but we're looking for and trying to define a range of possibilities. Maybe we focus near-term improvements in some part of the corridor. We're trying to come up with conceptual design ideas and rough budgets. And now we can come back to our stakeholder groups in each corridor to get feedback, but we'll have to have conversations with the council as the bond program approaches about funding Complete Streets. It'll be a challenge. The council is all over the the place on the bond program.
How do you convince them to spend money on Complete Streets then when everyone seems to have their own very specific list of wants and needs, many of which may relate to streets but not a wholesale redo of corridors in some other council member's part of town?
We will have a specific conversation on the bond needs inventory as it relates to streets and how does Complete Streets fit into that. We'll have some conversations with council about: We have these 15 projects, and these aren't the only ones you can call Complete Streets. We're talking about Greenville, MLK, doing more work on Bishop Avenue -- each council member has their own project their interested in. And we have to say it'll cost X amount to do this, and we need to talk about how we'll fund and proceed with implementing Complete Streets in the next few years.
OK, then --so how, when there's no money and even less consensus, do you implement Complete Streets?
Most likely it'll be a scenario of the picking a handful of projects. Or maybe they want to allocate a more general amount to enhance the streets approved in the bond program so they could get some Complete Streets elements.
But when you talk about incorporating some elements, aren't we then getting back to the broader wants and concerns mentioned across those surveys? Can't you say: "Well, everyone wants this, so we should do that."
It does make me want to go back and look at that. But that's not what we're focused on right now. We know the people looking at this were interested in that particular street and not a generic approach to the city as a whole. But I would be interested to see if it tells us anything as a whole. On a generic level I can't imagine there'd be many surprises. By in large people want their streets to be better, and most people aren't happy with the approach. And across the board there's a lot of interest in pedestrian improvements. But just as people are interested in seeing enhancements for pedestrians and bicycles, there's also a reluctance to giving up their cars and that convenience.
It's about the sharing of space. In many instances we'll look at shared bike lanes. In many instances we'll look at trying to be creative in how we can reduce lanes even though we don't change the number of lanes. Maybe we can gain feet or inches on either side. And in many instances we'll take on the challenge of getting rid of lanes. But I am anticipating those'll be tough. There'll be a lot of division. People will say, "We don't want to give up automobile convenience for a bike lane when there will be two, three people using their bikes." Then people will say, "Well, no one will bike unless we make those changes now."
The website promises more to come in March. Such as?
It's toward the end of March we are shooting toward. We have a technical committee of folks that includes technical people from the city and other agencies and developers to start wrestling with a lot of the technical aspects: How will we approach the design on these streets? And during the same time frame we'll pull together focus groups. We have stakeholders from each of the 14 areas. We've had one round of meetings already, and they helped us get the word out about the workshops. They're people who represent the organizations and businesses along those corridors, and we'll get them together and give the a preview of the conceptual designs.
And then from that point on we'll start finalizing them so they can be put out on the web as well as gear up for an open house where we'll give everyone an opportunity to look at those concepts and comment. And we'll pick a couple of locations where we can do a couple of demonstrations. We'll try to pick ones that lend themselves to demonstrations, ideally ones where we can keep the demonstration in place for a reasonable amount of time.
Two weeks to a month. So you can test those over time. We want to make sure if we're moving a lane how many people get upset about being late to work. We want to examine safety concerns. And we want to reach out and do media to draw people's attention so they'll come from all over the city to see reverse-angle parking or whatever we do. That's what we have in the cards. We're going to do a preview of the conceptual designs with the focus groups.
Do you know where you want to roll out some of these demonstrations?
Not yet. There are, I would say, some of the 14 streets clearly lend themselves to this more than others. They'll be more in the central part of the city as opposed to from the edge of the city. But aside from that we haven't figured that out yet. We can only afford to do two, so it'll be tough.
My favorites would be places that already have some mixed use , like Knox-Henderson, places in downtown, the Davis Corridor would also make a good candidate. We might also want to explore something in South Dallas like Grand Avenue. Those, my gut says, would be worth picking. But we want to do something substantial, something that would create significant change. If we're merely putting in a shared bike facility, I don't think a test run would be doable.
About 20% of City's Short-Term Rentals Are Paying Required Tax
Dallas' New Apartment Recycling Ordinance Is Off to a Slow Start
Chief Hall's Crime Reduction Plan Gets a Big Ol' Thumbs-Down...
Texas Produced More Energy from Renewable Sources Than Coal...


That's why a university asked Crow Insight to create a suite of visuals to publicly describe the success of a re-branding campaign that had generated substantial discussion (and some opposition) among stakeholders.
There is no single "right" graph for survey data. It depends upon the data, the audience, the context and the point being made. This horizontal bar chart uses the branding campaign's color palette and sacrifices some detail in order to emphasize overall positive sentiment.


Shane has been providing my Labrador with her food for four years now and I cannot recommend him highly enough. He knows his stuff and I have absolute trust in his advice on all matters canine. Thanks Shane!


THE number of dengue patients continues to rise in Central Visayas, which registered the largest number of cases in the country, according to a Department of Health (DOH) 7 official.
From January to April 3, the Regional Epidemiology and Surveillance Unit recorded 6,097 dengue cases.
"It's too early. We just ended the first quarter and we have so many cases," Buscato said.
The official reported that 37 people succumbed to dengue fever. The common causes of death were the complications brought by the disease, such as hypotensive shock and disseminated intravascular coagulation.
The dengue cases rose by 245 percent this year compared to the same period in 2018, which only saw 1,768 cases and 12 deaths.
Buscato said if the number continues to rise, it could break the 260-percent increase in 2016, which was labeled by DOH an epidemic year.
Local government units have been tasked to prevent the spread of dengue.
The Cebu City Goverment implemented its third cycle of spraying mosquito insecticides.
DOH 7 urged the public to clean the surroundings and destroy the mosquito breeding sites.
Meanwhile, health officials decided to continue their measles vaccination campaign in Central Visayas. This was disclosed by Ruff Vincent Valdevieso, the program coordinator of the immunization program at the DOH 7.
He said they have ended their anti-measles program held at the vaccination posts. It was part of their measles outbreak response.
DOH 7 extended the program for another week in April to map out the entire region and determine which areas have children (six to 59 months old) who have not been vaccinated.
Valdevieso said 169,619 children (six to 59 months old) have been vaccinated. Including adults, DOH vaccinated about 268,652 persons. Another 145,618 students from kindergarten to Grade 6 were also vaccinated.
The cases of measles in Central Visayas reached 1,304 from January to April 3 this year.
DOH-7 regional director Dr. Jaime Bernadas said they expected the dengue cases to still rise as gleaned from the three-year trend of rising incidents of dengue in the region.
Cebu City recorded the highest number of dengue cases this year, with 430 and 5 deaths; followed by Lapu-lapu City, with 361 cases and one death; and Mandaue City, with 206 cases and one death.
The rest of the fatalities came from the Cebu towns of Balamban (2), San Remegio (2), and city of Toledo (2); Tagbilaran City of Bohol (2); and one each in the cities of Talisay (Cebu), Bogo (Cebu), Dumaguete (Negros Oriental); one each in the Cebu towns of Alcantara, Bantayan, Cordova, Daanbantayan, Pinamungahan, Poro, Sibonga and Tuburan; and one each in the towns of Manjuyod (Negros Oriental) and Baclayon (Bohol).
All from a tiny bug! It's amazing that we consider the human race so superior yet such a small creature can wreak havoc on the population.
When I was a kid (well much younger!) we always put some oil on any still or stagnant water like drains, dams etc. This was to kill off the mozy larvae buy preventing them breathing. Not sure how effective it was cos they say the mozy counter got on the piss and lost count!
New place - about 500 Ft (165 M) closer to road, no close trees / drainage ditch, etc.
It used to be thought that the mosquito that transmits dengue (Aedes aegypti) only did so in the few hours after sunrise and the few hours before sunset. It's now been learned they can transmit the disease at night-time as well but only in areas with light.
It used to be thought that the mosquito that transmits dengue (Aedes aegypti) only did so in the few hours after sunrise and the few hours before sunset. It's now been learned they can transmit the disease at night-time as well but only in areas with light.


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Memorial Gymnasium - Vanderbilt University
Nashville, TN USA
Review by William Meckfessel
Photos by Christopher Durst
When one is watching Jim James sing, it quickly becomes clear that he has seen the ever-elusive god of musical genius and has come back a prophet. And it's not like he's trying to hide it. In "Victory Dance," the first song of My Morning Jacket's new album Circuital and of the show, in the first line James sings, "Should I close my eyes, and prophesize?" And now - at his live performances - he's determined to share what was revealed to him with his audience. You're never sure what he's selling - only that you want it, whatever it is.
MMJ kicked off the show with songs from their newest record and then went into a lengthy, three-hour set list that spanned their entire 13-year career (still nothing compared in length to the set they played at Bonnaroo a few years ago). They continued the set with a number of songs off more recent work like "I'm Amazed" and "Wonderful (The Way I Feel)" (which was performed with Matthew Ward of She & Him), all of which went nicely with songs off Z, the album that established the band. In fact, when James played the intro into "Off the Record" it drew one of the biggest cheers I've ever heard for a song, only proving that he had us in the palm of his hand. They closed the show with early MMJ tunes like "Mahgeetah" and "Phone Went West."
However, despite this strong lineup of powerful songs, the crowd seemed to start losing interest somewhere after about an hour into the show. In between songs the audience would chat amongst each other and discuss what a hardcore MMJ fan should be called (the final decision was Morning Glories, in case you were wondering) instead of waiting in anticipation for what the band was going to do next. This may not necessarily be the band's fault, but perhaps only a little too much weed and alcohol reaching its peak effect, for this was not the case during Everest's, the opening act, set. In fact, the lead singer of Everest commented on the strong fragrance just starting to rise from the floor. "It smells really good out there," he said laughing, "It probably makes us sound better…and play better." But this didn't last and the crowd even began singing along with "Wordless Chorus."
The back-to-back encores of MMJ were, honestly, the best I've seen in my concert-going years. The first part of the encore ended with the Evil Urges epic "Touch Me I'm Going to Scream Pt. 2", and the spine-curdling screech of "Good Intentions" startled every person in the room (despite their level of herbal enjoyment). And when they came back out on stage to do the second encore, the Preservation Hall Jazz band joined them, providing horn parts that got the audience rocking again.
This concert, in short, blew my mind. And that's not what was in the air talking. It's hard not to sound like a total die-hard fan kissing one's favorite band's ass, but these guys deserve a good ass kissing and I don't know how I could possibly describe it any other way. Even my skeptical companion, who wasn't much of a fan and had only heard My Morning Jacket songs in passing, thanked me for taking them along. After this show, I am more than proud to be a Morning Glory.


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Good news as developer puts forward proposals for another empty building in Retford
It's in 'one of the most historic areas'
Richard McAllister
Proposals to turn the former accountants practice into a physiotherapists practice have been lodged (Image: Google Street View)
More good news for Retford's high street as proposals to use a building formerly used by an accounting firm have been put forward.
Pritchards Property Ltd have lodged plans with Bassetlaw District Council to turn the building at 24 Exchange Street into a physiotherapy treatment centre.
The vacant premises was formerly a chartered accountants practice called Saul Fairholm.
The Heritage Impact Statement reads: "The proposed development is located on Exchange Street and is one of the most historic areas of Retford.
'Persistent nuisance' goes on shoplifting spree despite being banned from town centre
"There are several businesses along the street that vary from hairdressers, hotel, offices, cafes, general shops, bars and restaurants.
"All these features indicate that there is a large footfall that goes passed the building both during working hours and into the evenings.
The store closed in December (Image: Getty Images/EyeEm)
"It is acknowledge that the building is a building within the Retford conservation area, and the external appearance will not change.
"No external changes are proposed. Internal improvements to provide a level access to the main entrance, widening of certain key door openings and the forming of a suitable studio are proposed internally.
"No external alterations are proposed to the building other than the removal of a redundant metal fire escape structure in the rear yard."
Retford Library to close for extensive refurbishment
A council planning officer is due to make a decision on plans shortly.


The Tropical Rainfall Measuring Mission (TRMM) Multi-satellite Precipitation Analysis (TMPA) and Integrated Multi-satellite Retrievals for Global Precipitation Measurement (GPM) Mission (IMERG) products are compared against 447 quality-controlled rain gauges in southern China (SC) during summer (May to August) for the period 2014–2016. The differences of TMPA and IMERG in measuring the monsoon and tropical cyclone (TC) precipitation, considering the mean spatial patterns, and rainfall intensities are evaluated quantitatively. Statistical analysis shows that IMERG has much higher correlations of precipitation frequency (PF) with gauge observations for monsoon and TC precipitation. However, both satellite-based products show much poorer capability in estimating conditional rainfall and PF for TC precipitation, especially for estimating large conditional rainfall in TC systems. The capability of capturing the precipitation events at different rainfall intensities decreases with the increase of rainfall threshold for both monsoon and TC precipitation. Generally, IMERG exhibits a superior ability to detect precipitation at different rainfall intensities than TMPA. In depicting the diurnal cycles, IMERG shows a much better performance in estimating rainfall and PF for monsoon precipitation than TMPA by revealing the comparable diurnal amplitudes to the rain gauges, whereas TMPA fails to accurately estimate the early morning rainfall and PF. As a successor to TMPA, IMERG is a reliable source of precipitation estimates for future studies on precipitation meteorology.
We are grateful to the NASA Goddard Space Flight Center's Mesoscale Atmospheric Processes Laboratory and Precipitation Processing System (PPS) for providing the TMPA and IMERG data. The rain gauge data were provided by CMA. This work has been jointly supported by Natural Science Foundation of Anhui Province, China (Grant 1808085MD99), National Natural Science Foundation of China (Grant 41805023) and the Masters and Doctor Fund of Anhui Meteorological Bureau (Grant RC201701).


Yes, thats what we and our clients hear from our pre wedding photo shoot.
Amazing is the word, we all like to feel, hear and remember when it comes to remembering the time when we got clicked on our Pre wedding Photo shoot. And "WOW" is what you should hear when you post your Pre-wedding Pictures on Facebook, WhatsApp and Instagram. And that's why we bring variety and class in your pre wedding photo shoot. Well, doesn't it need to stand out from the rest of the shoots you see on your timeline? Here are a few shots you might want to try in your pre wedding photo shoot. For tips check out our article here.
Before we begin, in our first meeting we get to know you, your likes your interests and how you visualize your pre wedding photo shoot. Is it going to be romantic, fun or adventure? Boudoir Pre Wedding shoot perhaps? What you plan to wear is also an important input for us when we start recommending you locations and possible ideas. For Ektaa and Aditya, both of them being foodies, full of fun and energy, wanted to have something special in a beautiful maroon gown and him in a Tux.
And then something special to go with their "wine and cheese" setup at their Sangeet function.
Their fondness for Europe gave us the opportunity to get something clicked to give a truly European feel to the whole shoot.
This made us plan certain shots, and get the props to do something fun and romantic.
After all, Ektaa planned to put up all the pics from their pre wedding photo shoot on a wall of their bed room.
So we explored the beautiful venue of Le Meridian Resorts, Mahabaleshwar and got some great variations and poses for the couple.
Now this is extremely important specially for making save the date shots for Facebook and WhatsApp. The couple should directly look into the camera. Its going to be an invite, right? The following Pre wedding poses will help you out in your shoot for sure!
Leave us a comment below if you appreciated our pre wedding photography. We hope these pictures will help you plan your pre wedding photo shoot and get the most out of it. For more pre wedding poses and Ideas we recommend you going to our 25+ blogs from Various pre wedding shoots here.
Check out the recent wedding photography on instagram and our facebook page.


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Renting bounce houses in Hallandale is a perfectly easy, fun, and safe option for family bonding, birthday parties, BBQ's, office picnics, school, church events and of course everyone loves a bounce house at every family reunion. South Florida Bounce and Slide will deliver and set up a clean bounce house to your Hallandale location up to 3 hours before your event.


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Olafur Arnalds – some kind of peace (2020) [Official Digital Download 24bit/96kHz]
Ólafur Arnalds – some kind of peace (2020)
FLAC (tracks) 24-bit/96 kHz | Time – 38:43 minutes | 713 MB | Genre: Classical
Studio Master, Official Digital Download | Front Cover | © Decca Music Group Ltd.
Olafur Arnalds new album, some kind of peace is his most revealing and vulnerable work to date and features Bonobo, Josin and JFDR. Within, you'll find a self-confessed perfectionist grappling with the messier realities of everyday life: the possibilities of love, of settling down, and how to navigate all of that during a global pandemic (the album was half-written prior to lockdown, and completed at Arnalds' harbour studio in downtown Reykjavik). What's emerged on some kind of peace is a record about letting your guard down, and ultimately what it means to be alive.
some kind of peace is a journey of Ólafur Arnalds' personal and creative growth, set against the backdrop of a chaotic world. Within, you'll hear hints of those private experiences – sometimes even samples of the significant events themselves – woven into an album that is remarkable in its openness, and its beauty. Throughout Ólafur urges you to embrace all that life throws at you, and above all to react, and contemplate, to find your kind of peace. His stunning new album would definitely be the place to start.
After touring all over Europe with his album re:member (perhaps his best – or at least boldest – release of 2018), Ólafur Arnalds found himself alone in his studio in Reykjavik during lockdown and used the opportunity to record his most intimate record yet. "Like everyone else, it forced me to take stock of what I was doing. By the time the pandemic hit, I'd already written half the album, so the rest flowed freely. The result is my most personal album to date. It moves away from big concepts and big ideas. It's just me" explained the Icelandic composer. He offers up moments of intense weightlessness, levitation even, on tracks like the super-chilled opener Loom and Zero. With dreamlike synths, relaxing violins and compassion-filled pianos, Ólafur Arnalds sends out therapeutic vibrations on pieces where you can almost feel his consciousness expanding. Some local guests appear on this record, including the Icelandic singer JFDR on Back to the Sky which drips with Roya Arab-like sensuality. The album ends with a philosophical touch; Undone samples from a spoken word passage by the singer Lhasa de Sela, who died in 2010, bringing the concept of death to the fore. An album that doubles as a much-needed healing remedy. – Smaël Bouaici
1. Ólafur Arnalds & Bonobo – Loom (03:46)
2. Ólafur Arnalds – Woven Song (03:10)
3. Ólafur Arnalds – Spiral (03:20)
4. Ólafur Arnalds – Still / Sound (04:13)
5. Ólafur Arnalds & JFDR – Back to the Sky (03:23)
6. Ólafur Arnalds – Zero (04:26)
7. Ólafur Arnalds – New Grass (04:02)
8. Ólafur Arnalds & Josin – The Bottom Line (04:02)
9. Ólafur Arnalds – We Contain Multitudes (03:18)
10. Ólafur Arnalds – Undone (05:03)
https://subyshare.com/rn152xx1mdxd/lafurArnaldss0mekind0fpeace20202496.rar.html
Olafur Arnalds - A Sunrise Session (2021) [Official…
Olafur Arnalds - re:member (2018) [Official Digital…
Olafur Arnalds - The Invisible EP (2021) [Official…
Olafur Arnalds - When We Are Born (2021) [Official…
Olafur Arnalds - Island Songs (2016) [Official…
Olafur Arnalds - Eulogy for Evolution 2017…
Olafur Arnalds & Nils Frahm - Trance Frendz (2016)…
Olafur Arnalds
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A PIONEERING STUDY, NOW NOMINATED FOR AN EISNER AWARD!
An engrossing page-turner to be read and re-read… Hand of Fire is radiant with the "Kirby Krackle" of energy and enthusiasm, a fitting tribute to a unique creative genius.
Jack Kirby (1917-1994) is one of the premier storytellers and visual stylists, for some readers the premier artist, in American comic book history.
For more than forty years, Kirby worked steadily at comics, in particular the comic book—that roughly half-tabloid-sized, newsstand-ready magazine which for many readers still represents the kernel identity of American comic art. Kirby entered the comic book field when it was newborn, and excelled in it. With his dynamic, eccentric style, he left a deep and unmistakable handprint on both the medium and the industry that grew up around it.
Over those forty-plus years of almost uninterrupted artistic output, Kirby—his work, his style, his name—became part of the very atmosphere breathed by comic book creators and fans. That's why "Kirbyesque" has become a familiar adjective, and why so many artists continue to work in his shadow.
Charles Hatfield's Hand of Fire: The Comics Art of Jack Kirby is a book about what Kirby did and why it matters. In particular, it focuses on Kirby's artistic peak in the 1960s and '70s. A critical exploration of cartooning, of superheroes, science fiction, and the technological sublime, Hand of Fire is the first academic monograph in English about Kirby's work. In essence, it's a book about why Kirby blew off the top of so many readers' heads, and why he still does. Scholar Ian Gordon calls it "the single most important scholarly book on superhero comics hands down."
Hand of Fire is part of the University Press of Mississippi's "Great Comics Artists" series. It's available now in softcover, hardcover, and Ebook formats, including Kindle and Nook.
312 pages, 29 illustrations (21 B&W, 8 color)
978-1-61703-178-6 Paper $25.00
978-1-61703-177-9 Printed casebinding $65.00
978-1-61703-179-3 Ebook $25.00
PS. See the author's ongoing journal (up top) for news, teasers, and new writing about Kirby—and feel free to leave your comments and questions there! Also, hear what Charles Hatfield has to say about the book here:
http://soundcloud.com/charleshatfield/handoffire


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Home » Routes and Wizz Air Abu Dhabi Announce Strategic Partnership
Routes and Wizz Air Abu Dhabi Announce Strategic Partnership
Wizz Air Abu Dhabi and Routes are delighted to announce an exclusive strategic partnership to help identify new destinations to add to Wizz Air Abu Dhabi's network.
Routes' digital platform, Route Exchange, is continuing to play an important role in the recovery of the aviation industry, as airlines and airports around the world look to rebuild their networks and stimulate economic growth. Wizz Air Abu Dhabi has launched its first Request for Proposals (RFP) via the Route Exchange platform to identify new routes to add to its initial network.
Routes says it is the brand leader for cultivating growth opportunities in network and route development within the aviation industry. With 25 years' experience in assisting airports globally in developing new air services through conferences, data, training and consultancy, Routes will manage RFP process for Wizz Air Abu Dhabi. Routes is part of Informa.
Wizz Air currently has a fleet of 132 aircraft and operates more than 900 routes to 164 airports in 46 countries. In December 2019, it was announced that the carrier would be setting up a new subsidiary, based at Abu Dhabi International Airport. Wizz Air Abu Dhabi was jointly established by Wizz Air and ADQ, one of the region's largest holding companies with a broad portfolio of major enterprises spanning key sectors of Abu Dhabi's diversified economy.
Wizz Air Abu Dhabi announced in July 2020 its initial route network launching six destinations from its base in Abu Dhabi. The carrier's decision to use Route Exchange to grow its initial route network is underpinned by its desire to enter key growth markets across the Middle East, Africa, Central, and South East Asia and the Indian subcontinent. With plans to expand its fleet to six aircraft within the first six months of operation and to grow significantly over coming years, the RFP will play an instrumental role in the carrier identifying new destinations to add to its network.
"The RFP process will play an important role in developing our network, our operations and presence in Abu Dhabi. By working with Routes, we will be able to establish new routes from key growth markets and expand our initial route network," said Kees Van Schaick, managing director of Wizz Air Abu Dhabi.
"We believe the key to industry's recovery lies in strategic collaboration, creativity and innovation," Steven Small, director of Routes, said. "We're delighted that Wizz Air Abu Dhabi recognises the value of the Route Exchange platform to help it expand its initial network."
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This hearty curry is a little sweet, nicely spicy and packed with meaty mushrooms. The all-veggie sauce is easy to make and brimming with authentic Indian flavor.
In a large non-stick cooking pot, heat 1 teaspoon of oil on medium. Sauté the mushrooms for about 5 minutes, or until they're quite juicy and reduced in size. Remove to a plate and set aside.
Add 2 tablespoons of oil to the same pot and reduce the heat to low. Add all the spices and let them bloom in the oil for about two minutes. Add a little water if they're looking dry.
Raise the heat to medium and add the onion and pepper. Saute for about 2-3 minutes. Add the garlic and ginger and sauté for another two minutes. Reduce the heat and add a little water if needed.
Add the carrots, water, and salt and raise the heat to high; bring to a boil. Reduce the heat to low, cover and let simmer for about 20 minutes, or until the carrots are tender.
Remove from heat and use an immersion blender to puree the carrot mixture into a creamy sauce. You can also use a food processor and do it in two shifts. If using a food processor, when you're done return the sauce to the pot.
Heat the sauce on medium-low and stir in the peanut butter, greens and mushrooms. Heat through until the greens start to wilt.
Serve alone or with your favorite rice, quinoa or flatbread.
Total Calories: 839 | Total Carbs: 100 g | Total Fat: 41 g | Total Protein: 29 g | Total Sodium: 465 g | Total Sugar: 54 g	Note: The information shown is based on available ingredients and preparation. It should not be considered a substitute for a professional nutritionist's advice.