text:
HISTORICAL ART & AUCTIONS
Home NEWS Anthony Kiendl to Head Vancouver Art Gallery
Saskatchewan Art Fair Moves Online
Wayne Ngan (1937-2020)
Anthony Kiendl to Head Vancouver Art Gallery
Anthony Kiendl (photo by Carlos Taylhardat)
Anthony Kiendl has been appointed as CEO and director of the Vancouver Art Gallery.
"I have long admired the achievements of the Vancouver Art Gallery and its outstanding program and crucial role in exhibiting Indigenous and local artists," Kiendl said, adding he is particularly excited by plans for a new gallery.
Kiendl, who comes to Vancouver from the MacKenzie Art Gallery in Regina, has worked in the arts for 25 years.
"As an accomplished arts administrator, award-winning curator, writer, educator and community builder, Kiendl is a proven leader at inspiring transformative change, diversifying audiences, building collections, broadening institutional relevance and fundraising," the gallery said in its announcement.
Kiendl will begin his tenure in mid-August.
Born on Long Island, N.Y., Kiendl grew up in Winnipeg. He has worked in leadership roles at galleries across Western Canada, including the Plug In Institute of Contemporary Art in Winnipeg, and the Dunlop Art Gallery in Regina. He was also director of visual arts at the Banff Centre.
Dana Claxton, a member of the search committee, noted the worldwide response to the gallery's search.
"Anthony stood out because of his impressive expertise in the organizational development of several Canadian institutions . . . He has the ability to make an institution relevant in a particular place at a particular time and is especially cognizant of an art museum's relationship to power, relevance and diversity."
Kiendl takes over from Daina Augaitis, who has served as interim director for the past year.
Source: Vancouver Art Gallery
750 Hornby St, Vancouver, British Columbia V6Z 2H7
Hours Daily 10 am - 5 pm, Tues 10 am - 9 pm
Vancouver Art Gallery Anthony Kiendl 30 June 2020 issue
Copyright © 1999 - 2021 T2 Media Inc. All rights reserved.


In this sharp new history of two adversarial monarchs, Williams (Becoming Queen Victoria) tells the story of a monarch who "tried to be as autocratic as a king," but was thwarted by conspiracy and female disempowerment. She begins with a basic but skillful recounting of how Mary came to Scotland's throne in 1542 while her cousin Elizabeth I established her rule in England. Mary contended with significant threats to her reign and her authority; from within, aristocrats jostled for power, and, across the border, Elizabeth maneuvered to prevent Mary from claiming the English crown. According to Williams, Mary's downfall stemmed from her attempt to claim her rightful power and rule on her own terms. The Scots nobility regarded Mary as a woman first, queen second, and they conspired to control her by exploiting her body: as Williams renders in chilling detail, Mary was raped by and consequently forced to marry the Earl of Bothwell. Williams's analysis of this episode, unlike historians who have "judged her complicit" because she did not escape, is informed by contemporary insights into sexual assault. Forced to abdicate, Mary fled to England hoping for assistance from Elizabeth, who instead detained her and subsequently ordered her execution. Though parts of the story may be well-known to readers of royal history, Williams injects enough fresh viewpoints to make it a satisfying whole. Illus. (Nov.) © Copyright PWxyz, LLC. All rights reserved.


text:
Q: Can't co-create object / Can't find moniker | Jacob When creating an ActiveXComponent using JACOB I get the following error.
com.jacob.com.ComFailException: Can't co-create object
    at com.jacob.com.Dispatch.createInstanceNative(Native Method)
    at com.jacob.com.Dispatch.<init>(Dispatch.java:99)
    at com.jacob.activeX.ActiveXComponent.<init>(ActiveXComponent.java:58)
    at com.paston.jacobtest.RidderIQ.main(RidderIQ.java:30)

The COM object which I need to use from a program which doesn't register its DLLs by itself during installation.
To register the DLL I used the 64bit version of RegAsm according to this article that could help. Also, I tried to load every DLL in of the external program because I suspected that there could be "something" wrong with loading the dependencies.
Here is my current code:
public static void main(String[] args) {

    String dllDir = "C:\\Program Files (x86)\\Ridder iQ Client\\Bin\\";
    File folder = new File( dllDir );

    for (final File fileEntry : folder.listFiles()) {
        String str = fileEntry.getName();
        if (str.substring(str.lastIndexOf('.') + 1).equals("dll")) {
            System.out.println(fileEntry.getName());
            System.load(dllDir + str);
        }
    }

    try {
        ActiveXComponent example = new ActiveXComponent("RidderIQSDK");
    } catch (Exception e) {
        System.out.println(e.getMessage());
        e.printStackTrace();
    }

}

When changing the name to the clsid I get a different exception.
com.jacob.com.ComFailException: Can't find moniker
at com.jacob.com.Dispatch.createInstanceNative(Native Method)
at com.jacob.com.Dispatch.<init>(Dispatch.java:99)
at com.jacob.activeX.ActiveXComponent.<init>(ActiveXComponent.java:58)
at com.paston.jacobtest.RidderIQ.main(RidderIQ.java:28)

I got JACOB to work with my code in another test using the system's Random object.
    ActiveXComponent random = new ActiveXComponent("clsid:4E77EC8F-51D8-386C-85FE-7DC931B7A8E7");
    Object obj = random.getObject();

    Object result = Dispatch.call((Dispatch) obj, "Next");
    System.out.println("Result: "+result);

A: I tried all solution and finally succeeded to crack the code related to JACOB. Create your code as per below sample code.
public static void main(String[] args) {
        String libFile = System.getProperty("os.arch").equals("amd64") ? "jacob-1.17-x64.dll" :"jacob-1.17-x86.dll";
        try{
            /**
             * Reading jacob.dll file
             */
            InputStream inputStream = certificatemain.class.getResourceAsStream(libFile);
            /**
             *  Step 1: Create temporary file under <%user.home%>\AppData\Local\Temp\jacob.dll
             *  Step 2: Write contents of `inputStream` to that temporary file.
             */
            File temporaryDll = File.createTempFile("jacob", ".dll");
            FileOutputStream outputStream = new FileOutputStream(temporaryDll);
            byte[] array = new byte[8192];
            for (int i = inputStream.read(array); i != -1; i = inputStream.read(array)){
                outputStream.write(array, 0, i);
            }
            outputStream.close();
            /* Temporary file will be removed after terminating-closing-ending the application-program */
            System.setProperty(LibraryLoader.JACOB_DLL_PATH, temporaryDll.getAbsolutePath());
            LibraryLoader.loadJacobLibrary();

            ActiveXComponent comp=new ActiveXComponent("Com.Calculation");
            System.out.println("The Library been loaded, and an activeX component been created");

            int arg1=100;
            int arg2=50;
            //using the functions from the library:
            int summation=Dispatch.call(comp, "sum",arg1,arg2).toInt();
            System.out.println("Summation= "+ summation);
        }catch(Exception e){
            e.printStackTrace();
        }
}

Now let me tell you how to register your DLL. I also followed same article you mentioned but not working when you are dealing with applet.
Go to x86 framework using command line.
C:\Windows\Microsoft.NET\Framework\v2.0.50727
to register do same as
regasm.exe path_to_your_dll.dll /codebase
Don't pass any other flag except /codebase. You are done with it... Still you find any problem let me know...

redpajama_set_name: RedPajamaStackExchange


text:
package org.ovirt.engine.ui.webadmin.section.main.view.tab.storage;

import org.ovirt.engine.core.common.businessentities.AuditLog;
import org.ovirt.engine.core.common.businessentities.storage_domains;
import org.ovirt.engine.ui.common.idhandler.ElementIdHandler;
import org.ovirt.engine.ui.common.system.ClientStorage;
import org.ovirt.engine.ui.common.uicommon.model.SearchableDetailModelProvider;
import org.ovirt.engine.ui.uicommonweb.models.storage.StorageEventListModel;
import org.ovirt.engine.ui.uicommonweb.models.storage.StorageListModel;
import org.ovirt.engine.ui.webadmin.section.main.presenter.tab.storage.SubTabStorageEventPresenter;
import org.ovirt.engine.ui.webadmin.section.main.view.AbstractSubTabEventView;

import com.google.gwt.core.client.GWT;
import com.google.gwt.event.shared.EventBus;
import com.google.inject.Inject;

public class SubTabStorageEventView extends AbstractSubTabEventView<storage_domains, StorageListModel, StorageEventListModel>
        implements SubTabStorageEventPresenter.ViewDef {

    interface ViewIdHandler extends ElementIdHandler<SubTabStorageEventView> {
        ViewIdHandler idHandler = GWT.create(ViewIdHandler.class);
    }

    @Inject
    public SubTabStorageEventView(SearchableDetailModelProvider<AuditLog, StorageListModel, StorageEventListModel> modelProvider,
            EventBus eventBus,
            ClientStorage clientStorage) {
        super(modelProvider, eventBus, clientStorage);
    }

    @Override
    protected void generateIds() {
        ViewIdHandler.idHandler.generateAndSetIds(this);
    }
}

redpajama_set_name: RedPajamaGithub


text:
Iberian & Latin American Visual Culture Group
3D Models – Iberian Peninsula
Tag Archives: old masters
Several spaces still available for the 'Bomberg and Spain' discussion with exhibition curator Richard Cork at the National Gallery on Tuesday 25 February, 10:05 to 11 am [RSVP by Friday 21st]
You are cordially invited to an informal study morning in the exhibition Young Bomberg and the Old Masters (27 November 2019 – 1 March 2020)
David Bomberg
Study for 'Sappers at Work: A Canadian Tunnelling Company, Hill 60, St Eloi', about 1918–9
304.2 × 243.8 cm
Tate, London (T00319)
Purchased 1959
© Tate
Meet at the exhibition in Gallery 1 (accessible via the Getty Entrance to the right of the main portico on Trafalgar Square).
Self-led tour of the exhibition and discussion (coordinated by National Gallery Spanish Paintings Curatorial Fellow Akemi Herráez). The discussion will take place during normal museum opening hours so please be mindful of other visitors.
10:30 – 11:00 am
Followed by curator Richard Cork's overview of the exhibition and further discussion with a presentation including Bomberg's paintings of Spain in the Wilkins Boardroom, Wilkins Building (Akemi Herráez will take the group from the exhibition to the conference room).
Attendees may check their belongings into one of the Gallery's cloakrooms. Large bags and suitcases may not be brought into the Gallery. There is a bench in the exhibition for those who wish to sit. Please note that this study morning is by invitation only. Numbers are strictly limited to a quota of 13 people and places will be allocated on a first-come, first-served basis.
We kindly ask you to RSVP to akemi.herraezvossbrink@ng-london.org.uk by Friday 21 February 2020.
This entry was posted in ARTES, ARTES Event, National Gallery London and tagged David Bomberg, members only, Modern art, National Gallery London, old masters, Painting, study morning, Tate, Young Bomberg on February 18, 2020 by costanzabeltrami.
ARTES Members' Event: Discussion on Bomberg and Spain, The National Gallery, London, 25 February 2020, 10:05–11:00am (RSVP by 21 February)
Lecture: Isabelle Kent, '"The aura of popularity": Collecting Murillo in Britain and Ireland', The Wallace Collection Lecture Theatre, London, Monday, 30 September 2019, 5.30pm
Rarely seen paintings by Velázquez and Ribera on view at Sotheby's, 29 June–2 July 2019
Two important Spanish paintings will be on view at Sotheby's in the days preceding the Old Masters Evening Sale on 3 July.
The sale will feature a portrait of Donna Olimpia Maidalchini Pamphilj (1591–1657) likely painted by Velázquez during his second roman period. Donna Olimpia was an enormously influential figure at the court of pope Innocent X, sometimes referred to in sources as the 'Papessa' (lady pope). In the collection of Cardinal Pompeo Aldrovandi by 1724, the painting was later misattributed to the Dutch school and remained unseen for several years. Unusually for a work of this date, the painting's commission is recorded in great detail in a letter written by Francesco Gualenghi, a resident of Modena living in Rome, to Francesco I d'Este, Duke of Modena (1610–1658) on 13 July 1650: 'On Monday Sra Donna Olimpia was occupied all day with various ladies…in fact I mean that after lunch on Monday she allowed for her portrait to be painted by a very talented Spanish painter, who is said to be chamberlain to the King of Spain.'
Ribera's celebrated painting A Girl with a Tambourine will also be offered in the sale. The work is thought to be a personification of the sense of hearing, and to have formed part of a lost series dedicated to the five senses. It is likely a pendant to Laughing drinker with a bottle, once in the Spanish royal collection. While Ribera painted several personifications of the sense of hearing, this is his only signed representation of the subject. The artist's allegories of the senses are novel in their composition, as he focused on ragged peasants and vivid, everyday figures rather than idealised beauty. This painting is a particularly striking example of Ribera's ability to capture expression with empathy and skill.
This entry was posted in Exhibition and tagged A Girl with a Tambourine, Art Market, old masters, Olimpia Maidalchini Pamphilj, Painting, Ribera, Sotheby's, Spanish Painting, Velázquez on June 24, 2019 by costanzabeltrami.
Programme and Registration Details: Canons and Repertoires: Constructing the Visual Arts in the Hispanic World, 20th–21st June 2019, Senate Suite, Durham University Castle, Durham, UK
Organised by Stefano Cracolici and Edward Payne (Zurbarán Centre for Spanish and Latin American Art, Durham University)
Free, but please register at this link: https://www.eventbrite.co.uk/e/canons-and-repertoires-constructing-the-visual-arts-in-the-hispanic-world-registration-62569293441
The visual arts in Spain have long been haunted by the spectres of six giants: El Greco, Ribera, Velázquez, Murillo, Goya and Picasso. Still today, these canonical figures tower over all others and continue to shape the story of Spanish art, which has been traditionally told in monographic form. Although the strength of the Spanish canon has informed different disciplines (literature, aesthetics, performing arts), given the recent 'material turn', the prosopographical dimension of the visual arts in Spain poses a disciplinary challenge. Similarly, following the 'global turn', the visual arts of Iberia pose a geographical challenge, intersecting with the Mediterranean, Arabic, Latin American, British and continental European worlds. The notions of 'Spain' and 'Spanish art', therefore, are necessarily nebulous and problematic, raising a host of questions: To what extent does Spanish art exist before the establishment of Spain as a nation state? To what extent is the art of the Habsburg and Bourbon empires a Spanish art outside Spain? What is the role of Spain in the wider canon of European art? Who has exploited the visual arts of the Hispanic world, geographically, politically and intellectually? These questions ultimately point to a tension between canons and repertoires; between centres and peripheries; and between consolidating the 'core' and expanding the 'remit' of the so-called Spanish school.
This conference will explode the disciplinary, material and geographical limits of Spanish art, inaugurating the Zurbarán Centre as a critical and innovative research institution for the study of Spanish and Latin American art in the twenty-first century. Papers will challenge the canonical construction of Spanish art, which can be traced back to writings from Palomino's Lives of the Eminent Spanish Painters and Sculptors (1724) to Stirling Maxwell's Annals of the Artists of Spain (1848), to more recent publications by scholars in the field. Papers will also probe the chronological, geographical and material boundaries of the 'El Greco to Goya' survey, interrogating the ways in which academics, curators, scholars and teachers narrate this material through various platforms, including publications, museum displays, exhibitions, lectures, gallery talks and academic courses. Speakers will address the various 'terrains' of Spanish art, from geographical constructions of Iberia as Europe's frontier or edge, to exchange with all that lies beyond the Pillars of Hercules.
09.30 – 10.00 Registration & Coffee
10.00 – 10.05 Introduction & Welcome
10.05 – 11.20 Session 1: Historiographies
Chair: Stefano Cracolici (Durham University)
10.05 – 10.25 Why El Greco to Goya?
Edward Payne (Durham University)
10.25 – 10.45 Frederic Leighton's Vision of Spain
Véronique Gerard Powell (Sorbonne Université, Paris)
10.45 – 11.05 Nigel Glendinning and the Hispanic Research Journal: A Unique Voice in Spanish Cultural
Sarah Symmons (University of Essex)
11.05 – 11.20 Discussion
11.20 – 11.50 Tea & Coffee
11.50 – 12.50 Keynote Lecture:
Passion and Prejudice: Attitudes to Spanish Sculpture in Nineteenth-Century Britain
Holly Trusted (Victoria & Albert Museum, London)
14.00 – 15.15 Session 2: Geographies
Chair: Edward Payne (Durham University)
14.00 – 14.20 Beyond El Greco: The Travelling Artist between Italy and Spain—Artistic Translation and the
Sixteenth-Century Hispanic Canon
Piers Baker-Bates (The Open University)
14.20 – 14.40 Maestros españoles en Chile: Espacios y repertorios
Marcela Drien (Universidad Adolfo Ibáñez, Santiago de Chile)
14.40 – 15.00 Geographic Limits and the History of the Spanish Avant-Garde
Maite Barragán (Albright College, Reading PA)
15.15 – 16.30 Session 3: Strategies
Chair: Tom Stammers (Durham University)
15.15 – 15.35 Genaro Pérez Villaamil: Navigating Stereotypes
Claudia Hopkins (University of Edinburgh)
15.35 – 15.55 Imaginary Architecture as Imagined Community: 'The Market' by Jenaro Pérez Villaamil
Matilde Mateo (Syracuse University)
15.55 – 16.15 Hieroglyphs of Providence: Pelegrín Clavé and Isabella I of Castile
Stefano Cracolici (Durham University)
17.00 – 18.00 Keynote Lecture
Canons and Repertoires in Hispanic Art: What does Stirling Maxwell have to do with them?
Hilary Macartney (University of Glasgow)
9.30 – 10.00 Tea & Coffee
10.00 – 11.15 Session 4: Identities
Chair: Giovanna Capitelli (Università Roma Tre)
10.00 – 10.20 El arte español más allá de la península ibérica: ¿Qué significa ser un 'artista español en la Nueva España'?
Luis Javier Cuesta Hernández (Universidad Iberoamericana, Ciudad de México)
10.20 – 10.40 Constructing the Monuments of the Nation: Victor Balaguer and the Struggle to Shape Monasteries as Spanishness
Josep-Maria Garcia-Fuentes (Newcastle University)
10.40 – 11.00 Thinking Spain from Barcelona: The Iconographic Repertoire of Spanish Art (1918–1922)
Lucila Mallart (Universitat Pompeu Fabra, Barcelona)
11.45 – 13.00 Session 5: Remediations
Chair: Ludmilla Jordanova (Durham University)
11.45 – 12.05 Thinking through Painting: Artistic Practice as Metaphor in the Early Modern Hispanic World
Adam Jasienski (Southern Methodist University, Dallas TX)
12.05 – 12.25 From Mimesis to Montage: Sergei Eisenstein on El Greco
Dušan Radunović (Durham University)
12.25 – 12.45 'Ese Velázquez sí que era un genio': el canon del arte español y la ficción televisiva
Luis Vives-Ferrándiz Sánchez (Universitat de València)
14.00 – 14.20 Concluding Remarks
Amaya Alzaga Ruiz (Universidad Nacional de Educación a Distancia, Madrid)
14.20 – 15.00 Roundtable Discussion
15.00 – 16.00 Refreshment
This entry was posted in Conference, Uncategorized and tagged canon-building, canonicity, canons, cinema, colonialism, construction, Contemporary art, Durham Castle, Durham University, early modern, Edward Payne, el greco to goya, empire, Film, Hilary Macartney, historiography, Holly Trusted, Latin American art, modern, nation, old masters, Painting, Piers Baker-Bates, repertoire, repertoires, siglo de oro, Spanish Art, television, Villaamil, Zurbarán Centre for Spanish and Latin American Art on May 30, 2019 by costanzabeltrami.
Curators in Conversation: Looking at Spanish Old Masters Today, Colnaghi Foundation, 6 December 2018, 6:30–8:30pm
Michael Petry, Libation to Apollo (IX), 2018, 24k gold leaf on acrylic on canvas, 20 x 1 cm
Curators in Conversation: Looking at Spanish Old Masters Today
Nicola Jennings, Director, Colnaghi Foundation
Michael Petry, Artist & Director, MoCA London
Discussing the lasting influence of Spanish Old Masters in contemporary arts practice. This event is part of Spain NOW! – celebrating the 10th anniversary of the season of contemporary arts and culture in London.
Colnaghi Foundation
London, SW1Y 6AL
Michael Petry studied at Rice University, Houston (BA), London Guildhall University (MA), and has a Doctor in Arts from Middlesex University. Petry is an artist, author and Director of the Museum of Contemporary Art (MOCA) London. Petry co-founded the Museum of Installation, was Guest Curator at the Kunstakademiet, Oslo, and was Curator of the Royal Academy Schools Gallery. Petry co-authored Installation Art (1994), and Installation in the New Millennium (2003), and authored Abstract Eroticism (1996) and A Thing of Beauty is…(1997), The Trouble with Michael. His book Hidden Histories: 20th century male same sex lovers in the visual arts (2004) was the first comprehensive survey of its kind, and accompanied Hidden Historieswhich he curated for The New Art Gallery Walsall. Golden Rain (2008) accompanied his installation for the On the Edge exhibition for Stavanger 2008, European Capital of Culture. Petry was the first Artist in Residence at Sir John Soane's Museum (2010/11) and his one man show The Touch of the Oracle at the Palm Springs Art Museum (2012) was accompanied by a ten year career review book. Petry's work was included in the 2015 Frontiers Reimagined at the Venice Biennale, and his one-man show AT the Core of the Algorithm accompanied his Campbell Lectures at Rice University. Petry's books include The Art of Not Making: The New Artist Artisan Relationship (2011), Nature Morte: Contemporary Artists reinvigorate the Still-Life tradition (2013) and The WORD is ART (2018).
Nicola Jennings is Director of the Colnaghi Foundation and Associate Lecturer at the Courtauld Institute of Art. She completed her MA and doctorate at the Courtauld, and has worked at the National Gallery and City University in London. Her research and publications focus on art and patronage in Spain in the fifteenth, sixteenth and early seventeenth centuries, with a particular interest in northern European artists working in Iberia, conversos, and polychrome sculpture. She is a co-author of the first two volumes in the Coll & Cortés Studies series, Lorenzo Mercadante: Virgen del Buen Fin, and Alonso Berruguete: Renaissance Sculptor.
RSVP to info@colnaghifoundation.org
This entry was posted in Conversation, Uncategorized and tagged colnaghi foundation, Contemporary art, curators in conversation, Michael Petry, MoCA, Nicola Jennings, old masters, Spain NOW! on November 22, 2018 by costanzabeltrami.
El Greco on Sale at Christie's
According to The Art Newspaper, El Greco's Saint Francis and Leo (around 1600) is one of the highlights of the upcoming London sales. With an estimated sale price of £5m-£7m, the work is one of 51 from the collection of the late Stanford Rothschild consigned for sale to Christie's. The sale will take place on 7 December. Click here for more information about this painting.
This entry was posted in News, Uncategorized and tagged Art Market, auction, christie's, El Greco, London, News, old masters, rotschild, sales, the art newspaper on December 3, 2017 by costanzabeltrami.
New Publication: El Greco comes to America: the Discovery of a Modern Old Master (CEEH, Center for Spain in America and Frick Collection, 2017)
El Greco comes to America: The Discovery of a Modern Old Master, directed by Inge Reist and José Luis Colomer
Este libro es un homenaje a los soberbios ejemplos de la obra del Greco
conservados en Estados Unidos. El estilo tan personal del artista tenía
un aire de modernidad que atraía a los coleccionistas de aquel país,
gracias a lo cual los museos americanos poseen muchos de los mejores
Grecos que hay fuera de España. Once especialistas abordan el estudio
de coleccionistas particulares como Arabella Huntington, Louisine
Havemeyer, Henry Clay Frick, Peter Widener y Duncan Phillips, pero
analizan también el impacto de las exposiciones en las que pudieron
verse obras del cretense y el papel que desempeñaron artistas-asesores
como Mary Cassatt, John Singer Sargent y Roger Fry.
Partiendo de una rica documentación de archivo, en gran parte inédita
hasta ahora, los autores de este volumen demuestran el denuedo con el
que los coleccionistas americanos compitieron por las obras del Greco y
el lugar tan destacado que concedieron en sus casas a los cuadros del
cretense, que a menudo colgaron junto a otros de pintores más modernos
como Degas o Manet. Al hacerlo, y al fomentar la compra de cuadros del
Greco por parte de las instituciones públicas que financiaban, forjaron
la reputación internacional de este artista entre el público
contemporáneo, garantizando un aprecio por su estilo único que se
mantiene todavía.
SOBRE LOS DIRECTORES [10]
INGE REIST, doctora por la Universidad de Columbia, donde dio clase
durante unos años, es directora del Center for the History of
Collecting de la Frick Art Reference Library. Dirigió también el
Archivo Fotográfico de la Frick Collection y fue presidenta de la
Association of Research Institutes in Art History. Es experta en
historia del coleccionismo, tema sobre el que ha publicado trabajos y
dado conferencias en numerosos museos y congresos. Ha coeditado con Gail
Feigenbaum _Provenance: An Alternative Art History_ (2012), aunque sigue
interesándose por otras cuestiones, como prueba su «_All the World's a
Stage: The Theater Conceit in Early Modern Italy_» para el Blackwell
Companion to Renaissance and Baroque Art (2012).
JOSÉ LUIS COLOMER es doctor en Literatura Comparada por la Universidad
de Bolonia y licenciado en Historia del Arte por la Sorbona. Actualmente
dirige el Centro de Estudios Europa Hispánica y el Center for Spain in
America. Sus investigaciones abordan las relaciones culturales entre
España e Italia en el siglo XVII a través de agentes diplomáticos y
del intercambio de regalos artísticos entre las cortes europeas y los
reyes de España, así como el segundo viaje a Roma de Velázquez y sus
vínculos con personajes italianos en la corte de Madrid. En 2012
codirigió con Inge Reist el libro Collecting Spanish Art: Spain's
Golden Age and America's Gilded Age.
264 páginas; 156 ilustraciones
Until 15 December, 10% online discount, http://www.ceeh.es
This entry was posted in New publication, Uncategorized and tagged america, CEEH, Center for Spain in America, degas, El Greco, Frick Collection, golden age, influence, inge reist, John Singer Sargent, José Luis Colomer, manet, mary cassatt, Modern art, new book, old masters, Painting, Reception, roger fry, Spanish Art, usa on November 21, 2017 by costanzabeltrami.
Postponed: Visit to Kingston Lacy, Dorset
Diego Velázquez, 1599 – 1660 Philip IV hunting Wild Boar (La Tela Real) probably 1632-7 Oil on canvas, 182 x 302 cm Bought, 1846 NG197 https://www.nationalgallery.org.uk/paintings/NG197 – Currently on loan to Kingston Lacey
Please note that as very few members signed up for this trip (originally planned for November 9, 2017) the organisers have decided to postpone it until the new year.
This entry was posted in Uncategorized and tagged dorset, kingston lacey, members, old masters, Susan Wilson, Uncategorized, Velázquez, visit on September 25, 2017 by costanzabeltrami.
ARTES EVENT: Visit to Kingston Lacy, Dorset, November 9, 2017 – RSVP by September 20
Tour of art collection and rooms. Kingston Lacy has works by Velasquez, Tintoretto, Rubens, Van Dyck and Breughel (Visits starts at 1030 approximately)
Visit to grounds and kitchen garden, including Japanese gardens.
Visit ends at 1600.
Those requiring lunch are requested to make a booking with the kitchen at Kingston Lacy (philip.anderson@nationaltrust.org.uk)
The visit cost per head is £14.50 for members and £20 for non-members.
National Trust Members will have free access but may be required to pay £2.50 for the tour with the curatorial team.
Provisional train times (to be confirmed in September):
-Train out at 0720 to arrive in Poole – taxi to Kingston Lacy for 1030;
-Return journey depart KL at 1600 for 1640 train from Poole to London arr 1906
To attend, please advise Susan Wilson (susanruddwilson@sky.com) by 20 September 2017. In your email, please specify if you are a National Trust member. Please make your own booking for the train & lunch if required.
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Velázquez

redpajama_set_name: RedPajamaCommonCrawl


Putin repeatedly urged Abramovich to stay on as governor while he was already living between Russia and Britain.
Russian oligarch Roman Abramovich has the right to Israeli citizenship, the Kremlin said Tuesday, after the Chelsea football club-owner reportedly traveled to Israel and became a citizen after delays to his British visa application.
Abramovich, who was reportedly in Russia in recent days, flew into Tel Aviv on a private jet and received an Israeli identity card, local Channel 10 television reported.


Setting up a tent isn't as easy as you'd think, especially if you're not a regular camper or you're setting it up in bad weather, or teaming with your spouse to complete the task. Our annual family reunion this summer involved camping and that meant breaking out our tent. When our kids were young our camping skills were up-to-date. Now that we're empty nesters our idea of roughing it is more like scouting for the nearest bed and breakfast. But in the spirit of family togetherness we arrived on site and summoned our teamwork skills to pitch our tent.


text:
Home Interviews/Features Interview with Jeff Daniels
Interviews/Features
Interview with Jeff Daniels
Interview by Scott Preston
Many of you know Jeff Daniels as an award winning actor, but he is also a damn fine singer/songwriter and guitar player. Jeff will be bringing his own unique style to the Southgate House in Newport, KY on Thursday August 26. 7pm doors, 8pm showtime.
Cincy Groove: Has music always been a part of your life or is it a recent development?
Jeff Daniels: Its always been a part. I moved to New York in 1976 and bought a guitar and took it with me. I figured I would be waiting for the phone to ring and in order to keep my sanity I thought I would learn to play. I would learn to play and write songs and put them in this notebook with no intention of anyone ever hearing them. It was a musical diary for me. I was more interested in writing the next song instead of playing a cover note for note. It was just something I enjoyed doing and later when I moved back to Michigan in the mid 1980's I started a theater company. The whole time I'm doing these things I'm still learning and playing the guitar.
Cincy Groove: When did you perform on stage by yourself the first time?
Jeff Daniels: In about 2000 in an effort to raise money for the theater company they said why don't we roll you out on stage with your guitar and we will sell tickets. It was absolutely terrifying, because it was the first time I had ever done something like that. As an actor there is a character or a filter you can hide behind. But when you are up there singing your own stuff without a band, it can be nerve racking. I wasn't ready for the personal reveal of it all. The next year was a little better, and we ended up doing the shows on Christmas and New Years weeks. I would do 8-10 shows during those 2 weeks and we would raise a lot of money for the theater company. Eventually I ended up picking up an agent here in Michigan, Jim Fleming, who also handles Ani DiFranco. He told me that I could really do well going out and playing guitar. I told him I didn't want to be William Shatner but he told me I write and play from a point of view that is universally understood. I really started going out and playing music more seriously in 2003-2004. I have played about 200 gigs so far, I looked it up the other day. Most of the shows were one offs, where I would have to book them 4-6 months ahead of time around my acting schedule. Now I have more time that I can carve out to perform music and I can tell the movie and TV people to not bother me.
Cincy Groove: I was looking at your tour schedule and you are pretty much solidly book through the end of the year.
Jeff Daniels: I have talked to a few musicians who told me they couldn't believe how much I was playing. I really don't think I'm playing too much at all. I mean I have been on Broadway for the last year and a half performing 8 shows a week. Including 2 on Wed and 2 on Saturday. You get Monday off thats it.
Cincy Groove: Now that first time you played out by yourself, what kind of response did you get?
Jeff Daniels: They were very supportive, but they could smell the fear. I remember I was sweating like a large man from the mid-west and about half way through the show I had a perspiration mark from my under arms to the top of my hip. I remember looking at it and saying to the audience, "George Clooney never sweats like this". But you learn the more you play, I have been really working hard the last 10 years in particular. I have been taking lessons from Keb Mo, which has been helping greatly. You eventually want the players who have been out there a while to say ok he knows what he is doing. If you are going to go out there by yourself you really need to know how to play and not 3 chord it all night.
Cincy Groove: Who are some of your influences?
Jeff Daniels: Well, once I discovered the Delta Blues and how much fun it was to learn that, it really opened up the guitar for me. Artists who have influenced me include Lyle Lovett, Stevie Goodman, John Prine, Arlo Guthrie. Christine Lavin showed me it was ok to write funny songs. People like Lyle Lovett can only write the way he does. I think its every musicians goal to find that style that is only unique to you. With so many songs being written everyday, it can be a challenge to write something unique.
Cincy Groove: How has acting shaped your writing style or point of view?
Jeff Daniels: I have a point of view that is a little odd, that being one thing I have learned from acting, in particular comedy. I have worked with Woody Allen, Jim Carey, Robin Williams. If you gave each one of them a tomato and said do 2 minutes on it, each one would do a hysterical 2 minutes. But each actor would do it in such a way that is unique to them.
Cincy Groove: Have you had a chance to play on stage with anyone else?
Jeff Daniels: I played Portland, OR once and Keb Mo was also there. Keb called me and said he might come out and see me play. I jokingly said "Bring your guitar", and wouldn't you know it, he did. He ended up coming out and doing a couple songs with me. About the time I put out my 3rd cd Lyle Lovett was coming through Michigan. He had a songwriters tour going with John Hiatt, Joe Ely and Guy Clark. The four of them just sat there on stage and passed songs around. I had met Lyle on the couch of the Johnny Carson show back in the mid 80's. I called Lyle and told him I was going to come up and watch the show. I played the same theater about 6 months before that. I was back stage chatting with Lyle in the hallway where they have photos up of everyone that has played there. Lyle saw my photo and said "You play?" and then asked if I wanted to sit in. Of course you have to say yes to something like that. Sure enough half way through the show Guy Clark hands me his guitar. It was quite nerve-racking, but when in doubt do comedy. So I did this song I wrote "Have a Good Life and Die", which is about road rage. The audience loved it and I got the hell off the stage. For the encore Lyle came up to me and wanted me to come back out and do the song "William Shatner I can , Can't to". I have a photo of John Hiatt laughing so hard he is biting his hand. That was a real turning point for me musically. If you can go out there with those 3 artists watching along with 2,000 people, you can pretty much play under any situation. The fear of playing on stage literally disappeared after that.
Jeff Daniels tour dates
Aug 25 2010 Radio Radio Indianapolis, IN
Aug 26 2010 The Southgate House w/ Common Loon Newport, Kentucky
Aug 27 2010 3rd & Lindsley Nashville, TN
Aug 30 2010 Park Theatre Civic Centre North Vernon, IN
Sep 14 2010 S.P.A.C.E. Evanston, IL Find Tickets
Sep 15 2010 Turner Hall Ballroom Milwaukee, WI
Sep 16 2010 Grand Opera House Oshkosh, WI
Sep 18 2010 Frauenthal Theatre Muskegon, MI
Sep 19 2010 Lake Michigan College Mendel Center Benton Harbor, MI
Sep 21 2010 Ramsdell Theatre Manistee, Michigan
Sep 22 2010 Harbor Springs Performing Arts Center Harbor Springs, MI
Sep 23 2010 Arts Center Auditorium Sault Sainte Marie, MI
Sep 24 2010 Grand Hotel – Theatre Mackinac Island, MI
Oct 8 2010 The Whiting Auditorium Flint, MI
Oct 9 2010 Macomb Center Clinton Township, MI
Oct 13 2010 The Kent Stage Kent, OH
Oct 14 2010 The Barns at Wolf Trap Vienna, Virginia
Oct 15 2010 The Barn at Wolf Trap Vienna, VA
Oct 16 2010 Ram's Head On Stage Annapolis, MD
Oct 17 2010 Sellersville Theater 1894 Sellersville, Pennsylvan Find Tickets
Oct 18 2010 City Winery New York, New York
Oct 20 2010 INFINITY HALL Norfolk, Connecticut
Oct 21 2010 Club Passim Cambridge, MA
Oct 22 2010 The Landing Scarborough, ME
Oct 23 2010 The Grand Auditorium Ellsworth, ME
Oct 25 2010 Fairfield Theatre-Stage One Fairfield, CT
Oct 27 2010 The Carolina Theatre Durham, NC
Oct 28 2010 McGlohan Theater at Spirit Square Center Charlotte, North Caro
Oct 29 2010 Charleston Music Hall Charleston, SC
Oct 30 2010 Smith's Olde Bar Atlanta, GA
Nov 1 2010 The Old Rock House St. Louis, MO
Nov 2 2010 Crosstown Station Kansas City, MO
Nov 3 2010 Holland Performing Arts Center – 1200 Club – Enter the Haggis in Omaha, NE Omaha, Nebraska
Nov 5 2010 The Belly Up – Aspen Aspen, CO
Nov 6 2010 Daniels Hall @ Swallow Hill Music Denver, CO
Nov 9 2010 Fargo Theater Fargo, North Dako
Nov 10 2010 Cedar Cultural Center Minneapolis, MN
Nov 11 2010 Sacred Heart Music Center Duluth, Minnesota
Nov 12 2010 Heyde Center for the Arts Chippewa Falls, Wisconsin
Nov 13 2010 Majestic Theatre Madison, WI
Nov 19 2010 Latitude 62 Lodge Talkeetna, AK
Nov 20 2010 AK Center for the Performing Arts Anchorage, AK
Dec 3 2010 Gillioz Theatre Springfield, MO
Dec 4 2010 Leach Theater Rolla, MO
Jan 28 2011 Pollak Auditorium West Long Branch, NJ
Jan 29 2011 Weinberg Center for the Arts Frederick, MD
Jun 4 2011 Kirtland Center for the Performing Arts Roscommon, MI
www.jeffdaniels.com
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Photos – Jeff Daniels, 8.26.10, Southgate House, Newport, KY


text:
import re
import sys
import math as m
import numpy as np
from collections import Iterable
from osgeo import ogr ; ogr.UseExceptions()
from osgeo import osr ; osr.UseExceptions()

_gerexURL = re.compile(r"^http://www.opengis.net/def/crs/epsg/\d+\.?\d*/(\d+)$", re.IGNORECASE)
_gerexURN = re.compile(r"^urn:ogc:def:crs:epsg:\d*\.?\d*:(\d+)$", re.IGNORECASE)
_gerexShortCode = re.compile(r"^epsg:(\d+)$", re.IGNORECASE)

#-------------------------------------------------------------------------------
# coordinate transformation
RO = ['readonly']
WO = ['writeonly', 'allocate']

class CTransform(object):

    def __init__(self, sr_src, sr_dst):
        self._ct = osr.CoordinateTransformation(sr_src, sr_dst)

    def __call__(self, xarr, yarr):
        if hasattr(np, 'nditer') and isinstance(xarr, np.ndarray) and isinstance(yarr, np.ndarray):
            # NumPy array
            if xarr.shape != yarr.shape:
                raise ValueError("Array shape mismatch!")
            itr = np.nditer([xarr, yarr, None, None], [], [RO, RO, WO, WO])
            for x, y, u, v in itr:
                u[...], v[...], _ = self._ct.TransformPoint(float(x), float(y))
            return itr.operands[2], itr.operands[3]
        elif isinstance(xarr, Iterable) and isinstance(xarr, Iterable):
            # generic iterables + NumPy prior 'np.nditer'
            u, v = [], []
            for x, y in zip(xarr, yarr):
                _u, _v, _ = self._ct.TransformPoint(float(x), float(y))
                u.append(_u)
                v.append(_v)
            return u, v
        else: # assuming scalar values
            return self._ct.TransformPoint(float(xarr), float(yarr))[0:2]

#-------------------------------------------------------------------------------
# spatial references

# the most common spatial references

def createSRFromEPSG(epsg):
    """ Create OSR Spatial Reference from EPSG number code"""
    sr = osr.SpatialReference()
    sr.ImportFromEPSG(epsg)
    return sr

OSR_WGS84 = createSRFromEPSG(4326)
OSR_USP_N = createSRFromEPSG(32661)
OSR_USP_N = createSRFromEPSG(32761)

OSR_UTM_N = tuple(createSRFromEPSG(32601+i) for i in xrange(60))
OSR_UTM_S = tuple(createSRFromEPSG(32701+i) for i in xrange(60))

def setSR(geom, sr):
    """Assing spatial reference to a geometry and return it."""
    geom.AssignSpatialReference(sr)
    return geom

def parseSR(srs, debug=False):
    if debug:
        print >>sys.stderr, "SRS: ", srs
    for regex in (_gerexShortCode, _gerexURN, _gerexURL):
        match = regex.match(srs)
        if match is not None:
            return createSRFromEPSG(int(match.group(1)))
    if srs[:7] == "PROJCS[":
        return osr.SpatialReference(srs)
    if srs in (None, "", "NONE"):
        return None
    raise ValueError("Failed to parse the spatial reference! SRS='%s'"%(srs))

def dumpSR(sr, delimiter="", debug=False):
    # check whether geometry has a spatial reference
    if sr is not None:
        an, ac = (sr.GetAuthorityName(None), sr.GetAuthorityCode(None))
        if an == "EPSG" and ac > 0:
            #out = "%s:%s%s"%(an, ac, delimiter)
            out = "urn:ogc:def:crs:%s:6.3:%s"%(an, ac)
        else:
            print >>sys.stderr, "WARNING: Unsupported projection! %s"%(sr.ExportToWkt())
            out = ""
    else:
        out = ""
    return out

#-------------------------------------------------------------------------------
# File I/O subroutines

def parseGeom(buf, debug=False):
    """ parse geometry from a source buffer """
    # parse prefix
    if buf.startswith("EPSG:") or buf.startswith("PROJCS["):
        srs, _, buf = buf.partition(';')
        sr = parseSR(srs)
    else:
        sr = None

    # create the geometry
    for loader in (ogr.CreateGeometryFromWkb,
                    ogr.CreateGeometryFromWkt,
                    ogr.CreateGeometryFromGML,
                    ogr.CreateGeometryFromJson):
        try:
            if debug:
                print >>sys.stderr, "LOADER: ", loader,
            geom = loader(buf)
        except Exception as e:
            if debug:
                print >>sys.stderr, e
            continue

        if debug:
            print >>sys.stderr, "OK"
        break

    else:
        raise ValueError("ERROR: Failed to parse the source geometry!")

    if sr is not None:
        geom.AssignSpatialReference(sr)

    return geom

#OUTPUT_FORMATS = ("WKB", "WKT", "JSON", "GML", "KML")
OUTPUT_FORMATS = ("WKB", "WKT", "JSON", "KML")

def dumpGeom(geom, format="WKB", debug=False):
    """ dump geometry to a buffer possible formats are: WKB(*)|WKT|JSON|GML|KML """
    # dump SRS prefix
    prefix = dumpSR(geom.GetSpatialReference(), ";", debug)

    if format == "WKB":
        data = geom.ExportToWkb()
        if prefix:
            data = "%s%s"%(prefix, data)
    elif format == "WKT":
        data = "%s%s\n"%(prefix, geom.ExportToWkt())
    elif format == "JSON":
        data = geom.ExportToJson()
# the GML needs to be verified
#    elif format == "GML":
#        data = geom.ExportToGML()
    elif format == "KML":
        data = geom.ExportToKML()
    else:
        raise ValueError("Invalid format specification! FORMAT='%s'"%(format))

    return data

#-------------------------------------------------------------------------------

def wrapArroundDateLine(geom, (xmin, ymin, xmax, ymax), nstep=200):
    """
        wrap (split) geometry arround the date-line

        nstep controls the split border segmentation (dy = (ymax-ymin)/nstep)
    """
    xdif = xmax - xmin
    step = (ymax - ymin) / nstep

    x0, x1, _, _ = geom.GetEnvelope()

    p_start = int(m.floor((x0-xmin)/xdif))
    p_stop = int(m.ceil((x1-xmin)/xdif))

    # skip geometries falling to a regular domain
    if (p_start == 0) and (p_stop == 1):
        return geom

    # wrap-arround
    lgeom = []
    for p in xrange(p_start, p_stop):
        offset = p*xdif
        clip = getRectangle((xmin+offset, ymin, xmax+offset, ymax), step)
        tmp = geom.Intersection(clip)
        tmp = shiftGeom(tmp, (-offset, 0.0))
        lgeom.extend(extractPolygons(tmp))

    return groupPolygons(lgeom)

def wrapArroundWGS84(geom, nstep=200):
    """
        logitude wrap-arround of geometry in WGS84

        nstep controls the split border segmentation (dy = (ymax-ymin)/nstep)

        eqivalent to:
            wrapArroundDateLine(geom, (-180., -90., +180., +90.), nstep)
    """
    return wrapArroundDateLine(geom, (-180., -90., +180., +90.), nstep)

#-------------------------------------------------------------------------------

def mapToWGS84(geom):

    def between(v, (v0, v1)):
        if v0 <= v1:
            return (v0 <= v)and(v1 >= v)
        else: #v1 > v0
            return (v1 <= v)and(v0 >= v)

    def extent_contains(x0, y0):
        return ((x0_min <= x0)and(x0_max >= x0)
             and(y0_min <= y0)and(y0_max >= y0))

    def generate_polar_section(north, east):
        eps = 1e-9
        y00 = 89 # max. opposite pole lat.distnace from the equator
        x0 = 0 if east else -180
        y0 = (-y00) if north else (+y00)
        y1 = (90-eps) if north else (eps-90)

        lr = ogr.Geometry(type=ogr.wkbLinearRing)
        for i in xrange(31):
            lr.AddPoint_2D(i*6+x0, y0)
        lr.AddPoint_2D(180+x0, y1)
        lr.AddPoint_2D(x0, y1)
        lr.AddPoint_2D(x0, y0)
        p = ogr.Geometry(type=ogr.wkbPolygon)
        p.AddGeometry(lr)
        p.AssignSpatialReference(OSR_WGS84)
        return p

    def fix_dateline(geom, east):
        """fix the +/-180dg ambiguity of the date-line nodes"""
        def _dlflip_east((x, y, _)): # date-line point flipper
            return (x+360.0 if x < -179.0 else x, y)
        def _dlflip_west((x, y, _)): # date-line point flipper
            return (x-360.0 if x > (+179.0) else x, y)
        return Transfomer(_dlflip_east if east else _dlflip_west)(geom)

    def transform_polar(north):
        # generate polygon spliting the polar geometry to halves
        s1 = generate_polar_section(north, east=True)
        s2 = generate_polar_section(north, east=False)

        # transform coordinates
        s1.Transform(ct_rev)
        s2.Transform(ct_rev)

        # split the polar geometry to halves
        g1 = geom.Intersection(s1)
        g2 = geom.Intersection(s2)

        # transform halves to the target projection
        g1.Transform(ct_fwd)
        g2.Transform(ct_fwd)

        # fix the dateline ambiguity
        g1 = fix_dateline(g1, east=True)
        g2 = fix_dateline(g2, east=False)

        # return the unified geometry
        return g1.Union(g2)

    #--------------------------------------------------------------------------

    sr_src = geom.GetSpatialReference()
    sr_dst = OSR_WGS84

    # coordinate transformation objects
    ct_fwd = osr.CoordinateTransformation(sr_src, sr_dst)
    ct_rev = osr.CoordinateTransformation(sr_dst, sr_src)

    # envelope and centroid in the source coordinates
    x0_min, x0_max, y0_min, y0_max = geom.GetEnvelope()

    # centroid
    x0_cnt, y0_cnt = 0.5*(x0_min+x0_max), 0.5*(y0_min+y0_max)

    # try to get coordinates of the north and south pole in the source CRS
    try:
        xy0_np = ct_rev.TransformPoint(0.0, 90.0)[:2]
    except RuntimeError:
        xy0_np = None

    try:
        xy0_sp = ct_rev.TransformPoint(0.0, -90.0)[:2]
    except RuntimeError:
        xy0_sp = None

    # case #1 - extent contains the north pole
    if xy0_np and extent_contains(*xy0_np):
        return setSR(transform_polar(north=True), OSR_WGS84)

    # case #2 - extent contains the south pole
    # check whether the extent contains the south pole
    elif xy0_sp and extent_contains(*xy0_sp):
        return setSR(transform_polar(north=False), OSR_WGS84)

    # case #3 proceed with the date-line handling

    # perform transformation
    geom.Transform(ct_fwd)

    # get extent and centroid in the target coordinates
    x1_min, _, _ = ct_fwd.TransformPoint(x0_min, y0_cnt)
    x1_max, _, _ = ct_fwd.TransformPoint(x0_max, y0_cnt)
    x1_cnt, _, _ = ct_fwd.TransformPoint(x0_cnt, y0_cnt)

    # fix the wild easting wrap-arround
    if not between(x1_cnt, (x1_min, x1_max)):
        if x1_max < x1_min: # axis orientation preserved
            x_cnt, x_min, x_max = x1_cnt, x1_min, x1_max
        else: # (x1_min < x1_max) # flipped axis orientation
            x_cnt, x_min, x_max = x1_cnt, x1_max, x1_min

        # point unwrapping fuctions
        if x_cnt < x_max: # EAST to WEST
            def _dlflip(p):
                return (p[0]-360*(p[0] > x_max), p[1])
        elif x_cnt > x_min: # WEST to EAST
            def _dlflip(p):
                return (p[0]+360*(p[0] < x_min), p[1])

        geom = setSR(Transfomer(_dlflip)(geom), OSR_WGS84)

    # perform proper wrapparround
    return setSR(wrapArroundDateLine(geom, (-180, -90, 180, 90), 1), OSR_WGS84)

#-------------------------------------------------------------------------------

def groupPolygons(plist):
    """ group polygons to a multi-polygon """
    mp = ogr.Geometry(ogr.wkbMultiPolygon)
    for p in plist:
        mp.AddGeometry(p)
    return mp

def ungroupMultiPolygon(mpol):
    """ un-group multi-polygon to a list of multi-polygons """
    return [mpol.GetGeometryRef(i) for i in xrange(mpol.GetGeometryCount())]

def extractPolygons(geom):
    if geom.GetGeometryName() == "GEOMETRYCOLLECTION":
        l = []
        for i in xrange(geom.GetGeometryCount()):
            l.extend(extractPolygons(geom.GetGeometryRef(i)))
        return l
    elif geom.GetGeometryName() == "MULTIPOLYGON":
        return ungroupMultiPolygon(geom)
    elif geom.GetGeometryName() == "POLYGON":
        return [geom]
    else:
        return []

def getRectangle((x_min, y_min, x_max, y_max), step=1.0):
    """ Create rectangle polygon with the edges broken to smaller
        line segments. The size of the lenght line segments is approx.
        the value of the step parameter
    """
    n_x = max(1, int(m.ceil((max(x_min, x_max)-min(x_min, x_max))/float(step))))
    n_y = max(1, int(m.ceil((max(y_min, y_max)-min(y_min, y_max))/float(step))))

    lx = []
    ly = []

    # generate polygon
    lx.append(np.linspace(x_min, x_max, n_x, False))
    ly.append(np.ones(n_x)*y_min)
    lx.append(np.ones(n_y)*x_max)
    ly.append(np.linspace(y_min, y_max, n_y, False))
    lx.append(np.linspace(x_max, x_min, n_x, False))
    ly.append(np.ones(n_x)*y_max)
    lx.append(np.ones(n_y)*x_min)
    ly.append(np.linspace(y_max, y_min, n_y, False))

    # close ring
    lx.append(np.array([x_min]))
    ly.append(np.array([y_min]))

    # concatenate arrays
    x = np.concatenate(lx)
    y = np.concatenate(ly)

    # convert to polygon
    r = ogr.Geometry(ogr.wkbLinearRing)

    for xx, yy in zip(x, y):
        r.AddPoint_2D(xx, yy)

    p = ogr.Geometry(ogr.wkbPolygon)
    p.AddGeometry(r)
    return p

def shiftGeom(g, (dx, dy)):
    """ shift geometry by a given offset """
    def _shift(p, (dx, dy)):
        return (p[0]+dx, p[1]+dy)
    t = Transfomer(_shift)
    return t(g, (dx, dy))

#------------------------------------------------------------------------------

class Transfomer(object):

    def __init__(self, f):
        self.__f = f

    def __call__(self, g0, *prm, **kw):
        return self._geometry(g0, *prm, **kw)

    def _geometry(self, g0, *prm, **kw):
        #print g0.GetGeometryName(), g0.GetGeometryType()
        if g0.GetGeometryName() == "MULTIPOLYGON":
            return self._multi_polygon(g0, *prm, **kw)

        elif g0.GetGeometryName() == "POLYGON":
            return self._polygon(g0, *prm, **kw)

        elif g0.GetGeometryName() == "LINEARRING":
            return self._linear_ring(g0, *prm, **kw)

        else:
            return None

    def _linear_ring(self, r0, *prm, **kw):
        #print r0.GetGeometryName(), r0.GetGeometryType()
        if r0.GetGeometryName() != "LINEARRING":
            return None
        r1 = ogr.Geometry(ogr.wkbLinearRing)
        for i in xrange(r0.GetPointCount()):
            rv = (self.__f)(r0.GetPoint(i), *prm, **kw)
            if rv is not None:
                r1.AddPoint_2D(*rv)
        return r1

    def _polygon(self, p0, *prm, **kw):
        #print p0.GetGeometryName(), p0.GetGeometryType()
        if p0.GetGeometryName() != "POLYGON":
            return None
        p1 = ogr.Geometry(ogr.wkbPolygon)
        for i in xrange(p0.GetGeometryCount()):
            rv = self._linear_ring(p0.GetGeometryRef(i), *prm, **kw)
            if rv is not None:
                p1.AddGeometry(rv)
        return p1

    def _multi_polygon(self, m0, *prm, **kw):
        #print m0.GetGeometryName(), m0.GetGeometryType()
        if m0.GetGeometryName() != "MULTIPOLYGON":
            return None
        m1 = ogr.Geometry(ogr.wkbMultiPolygon)
        for i in xrange(m0.GetGeometryCount()):
            rv = self._polygon(m0.GetGeometryRef(i), *prm, **kw)
            if rv is not None:
                m1.AddGeometry(rv)
        return m1


Macedonia Baptist Church is a "Great Place to Grow." As we grow, we want to see "All Hands on Deck" serving together as one body. When we serve together, worship together, and do life together we are an active faith family living lives that are SENT.
Wednesday, April 17: Solemn Prayer Service @ 6:00 p.m.
Sunday, April 21: Resurrection Sunday Services @ 8:15 a.m. & 10:30 a.m.
Access to sermons, events, updates and other important church information.


text:
le Shuuk
Le Shuuk – the charismatic DJ and producer from Stuttgart is one of the shooting stars to have burst onto the EDM scene in recent years. After rocking the stages at the ULTRA MUSIC EUROPE (Croatia 2016), TOMORROWLAND (Belgium 2017), the BigCityBeats WORLD CLUB DOME resident DJ contributed the festival's opening and closing anthems for over 3 years now. Notable are his energetic sets after David Guetta and Hardwell during WCD, as well as his appearances at World Club Cruise, Octagon (South Korea) or at the newly-founded BigCityBeats WORLD CLUB DOME KOREA in 2017.
Le Shuuk, alias Chris Stritzel, is part of 2015 BigCityBeats since 2015. In 2016 he had his international breakthrough playing Main Stage sets at UNITE – The Mirror to Tomorrowland and the BigCityBeats WORLD CLUB DOME Winter Edition with Dimitri Vegas & Like Mike. Other highlights in Le Shuuk's red-letter year included DJ gigs at the Street Parade in Zurich and on board the BigCityBeats Boeing 747 as it flew at an altitude of 10,000 metres from Paris to Frankfurt via London and Hamburg.
Moreover Le Shuuk has a diversified discography with several releases on industry's most important labels. "Seth" was supported by EDM superstars like David Guetta, Dimitri Vegas & Like Mike and Blasterjaxx. "Unicorn" has already attracted over 1 million clicks on YouTube and the Zatox remix of Le Shuuk's "Infinity" version made it to No.2 in the Beatport charts. In 2017 he released on Dannic's Fonk Recordings and Dimitri Vegas and Like Mike's imprint "Smash The House". Releases on Armada and Revealed Recordings are confirmed and the festival season is coming. The stratospheric rise of Le Shuuk is set to continue in 2018.
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My professional passion is very simple; I love finding and shaping the good idea!
Enjoy seeing it realized in collaboration with talented people within their separate fields of handcraft, engineering, marketing, sales, logistics. Design thinking when it is best and works in full understanding and acknowledgement of the value of all people involved in a product development.
I use my background as architect to extract the essence of a need. To see a potential in the context of a space, in architecture and in the people without whom none of it would make much sense. Great inspiration is for me found simply by living life! Seeing the way human, things, shapes, nature, structures and elements interacts. Knowledge gathered from years of experience with a wide range of very different professional partners gives me valuable insight and cross-references to enhance my creativity. It is always the same great pleasure finding the right solution.


Opened earlier this year, Columbus Coffee Co. first got on my radar when I realised it's run by the people behind Atlas Coffeehouse. I'd been wanting to visit Atlas Coffeehouse for months, but was always turned off by the crowd. A friend told me Columbus Coffee Co. serves similar dishes, including their popular pancakes, so I thought I'd pay it a visit.
Food at Columbus Coffee Co.
Compared to new cafes like Grids and Circles and Five Oars Coffee Roasters, Columbus Coffee Co. serves up relatively typical brunch plates. We got their Creamy Mushrooms on Toasted Sourdough ($14+), with an add-on of Scrambled Eggs (additional $3+).
The creamy eggs and toast were good, but it was the mushrooms that stood out most. Soaked in a herby, umami cream sauce, the sauteed shimeji mushrooms created an explosion of flavours on my taste buds – it was impossible to not finish everything at once. Just the mushrooms and toast would have been enough to make a good meal, so there really wasn't a need for us to add eggs to the mix.
Next up was this huge bowl of Summer Chicken Stew ($18+). It comes with an entire slow-roasted chicken thigh, making this enough for two to share. The sun-dried tomato cream broth hides chunks of roasted potato and carrots as well.
The robust broth was teeming with the fragrance and taste of rosemary, whetting our appetites the moment this was served. Taste-wise, it was similar to the sauce in the previous dish. Despite being more watery than the sauce, the stew was able to sufficiently flavour the succulent chicken. The potatoes were soft and the carrots sweet, completing the hearty dish wonderfully.
I've always wanted to try Atlas Coffeehouse's famous Butterscotch Banana Pancake ($18.50+), so of course I had to order it here. Looking exactly like all the photos I saw on Instagram, this beauty is topped with maple-glazed cornflakes and vanilla ice-cream.
The thick, fluffy butterscotch pancake was delicious, especially if you have it with a little bit of everything. The crunch from the cornflakes, cold creamy sweetness from the ice-cream, and soft bananas made a wonderful combination, the kind that you could easily stuff yourself with without even realising.
Ambience at Columbus Coffee Co.
Columbus Coffee Co. is a corner cafe at Upper Thomson Road, just opposite One Man Coffee. It's a huge space inside with plenty of large tables that are great for groups. Place your orders at the counter and a staff member will serve your food to your table. It gets packed on weekends, so drop by on weekday nights if you can.
With so many popular cafes rooted in Upper Thomson, you've got to be pretty ballsy to start another one in the area. With such delicious food and a strong fan base, however, I can see why the team behind Atlas Coffeehouse went straight for it. Columbus Coffee Co.'s menu has all of Atlas Coffeehouse's signatures, so head down if you haven't gotten a chance to try them. If you're looking for novel dishes, however, you'll get a better chance at Daily Affairs or Two Hana.
Columbus Coffee Co. is not a halal cafe.
Photos taken by Yeo Yuanning.


text:
#include "pumbaa.h"

/**
 * Print the queue object.
 */
static void class_queue_print(const mp_print_t *print_p,
                              mp_obj_t self_in,
                              mp_print_kind_t kind)
{
    struct class_queue_t *self_p;

    self_p = MP_OBJ_TO_PTR(self_in);
    mp_printf(print_p, "<0x%p>", self_p);
}

/**
 * Create a new Queue object associated with the id. If additional
 * arguments are given, they are used to initialise the queue. See
 * `init`.
 *
 * class Queue()
 */
static mp_obj_t class_queue_make_new(const mp_obj_type_t *type_p,
                                     mp_uint_t n_args,
                                     mp_uint_t n_kw,
                                     const mp_obj_t *args_p)
{
    struct class_queue_t *self_p;

    mp_arg_check_num(n_args, n_kw, 0, 0, false);

    /* Create a new Queue object. */
    self_p = m_new_obj(struct class_queue_t);
    self_p->base.type = &module_sync_class_queue;

    /* Initialize the queue if queue and mode are given. */
    queue_init(&self_p->queue, &self_p->buf[0], sizeof(self_p->buf));

    return (self_p);
}

/**
 * def read(self, mask)
 */
static mp_obj_t class_queue_read(mp_obj_t self_in, mp_obj_t size_in)
{
    struct class_queue_t *self_p;
    vstr_t vstr;
    size_t size;

    self_p = MP_OBJ_TO_PTR(self_in);
    size = mp_obj_get_int(size_in);
    vstr_init_len(&vstr, size);

    size = queue_read(&self_p->queue, vstr.buf, size);

    if (size <= 0) {
        nlr_raise(mp_obj_new_exception_msg(&mp_type_OSError,
                                           "failed to read from queue"));
    }

    return (mp_obj_new_str_from_vstr(&mp_type_bytes, &vstr));
}

/**
 * def write(self, mask)
 */
static mp_obj_t class_queue_write(mp_obj_t self_in, mp_obj_t buf_in)
{
    struct class_queue_t *self_p;
    mp_buffer_info_t bufinfo;
    ssize_t res;

    self_p = MP_OBJ_TO_PTR(self_in);
    mp_get_buffer_raise(buf_in, &bufinfo, MP_BUFFER_READ);

    res = queue_write(&self_p->queue, bufinfo.buf, bufinfo.len);

    if (res <= 0) {
        nlr_raise(mp_obj_new_exception_msg(&mp_type_OSError,
                                           "failed to write to queue"));
    }

    return (MP_OBJ_NEW_SMALL_INT(res));
}

/**
 * def size(self)
 */
static mp_obj_t class_queue_size(mp_obj_t self_in)
{
    struct class_queue_t *self_p;

    self_p = MP_OBJ_TO_PTR(self_in);

    return (MP_OBJ_NEW_SMALL_INT(queue_size(&self_p->queue)));
}

static MP_DEFINE_CONST_FUN_OBJ_2(class_queue_read_obj, class_queue_read);
static MP_DEFINE_CONST_FUN_OBJ_2(class_queue_write_obj, class_queue_write);
static MP_DEFINE_CONST_FUN_OBJ_1(class_queue_size_obj, class_queue_size);

static const mp_rom_map_elem_t class_queue_locals_dict_table[] = {
    /* Instance methods. */
    { MP_ROM_QSTR(MP_QSTR_read), MP_ROM_PTR(&class_queue_read_obj) },
    { MP_ROM_QSTR(MP_QSTR_write), MP_ROM_PTR(&class_queue_write_obj) },
    { MP_ROM_QSTR(MP_QSTR_size), MP_ROM_PTR(&class_queue_size_obj) },
};

static MP_DEFINE_CONST_DICT(class_queue_locals_dict, class_queue_locals_dict_table);

/**
 * Queue class type.
 */
const mp_obj_type_t module_sync_class_queue = {
    { &mp_type_type },
    .name = MP_QSTR_Queue,
    .print = class_queue_print,
    .make_new = class_queue_make_new,
    .locals_dict = (mp_obj_t)&class_queue_locals_dict,
};


PLEASE NOTE: registration on the day is raised to £10 per person.
Nothing to lose but calories. Everything to gain for your memories.
On Sunday April 28th, Springhill Hospice is giving you the opportunity to step out with friends, family and work colleagues and play your part in hospice care.
You and yours are invited to set off from the Hospice on Broad Lane at 10.30am, to tread a total 15,000 steps along the 7.25 mile round trip. Stopping off at Dr Kershaw's Hospice in neighbouring Oldham, you'll enjoy a sit down, a cuppa and a natter. Once fully refreshed you'll set off back to Springhill Hospice where you'll be greeted with a well-earned bespoke medal, refreshments and a very special Springhill Smile.
You can sign up on your own or as part of a group (up to 10 people per application). Once we've received your application and payment, we'll write to you, giving you information about the event day and of course, that all important sponsor form.
Your registration fee will provide you with a bottle of water, refreshments and that all important medal and fundraising certificate. For more information about this event or details of other ways to support patient care at Springhill Hospice, please contact Rebekah Cheshire by phone 01706 641790 (opt 1) or by email rebekah.cheshire@nhs.net.
PLEASE CAR SHARE WHERE POSSIBLE AND BE PREPARED TO PARK AWAY FROM OUR GROUNDS AND WALK TO THE HOSPICE.
CHECK IN DESKS OPEN AT 9.00am.
WALKERS SET OFF AT 10.30am.
Children under 16 years must be accompanied by an adult (18 or over) who is also registered on the walk.
I confirm that I am entering this event in support of Springhill Hospice.
We will send you information about the event, participant numbers and sponsor forms by post in the next few days.
We store your information securely and do not share it with any third party.


Are you looking to move to Thornhill?
Never underestimate the needs of a relocation process. Whether you're moving short or long distance, it's important to be prepared and start planning in advance. It helps to find a moving company in Thornhill that you can trust to handle all the heavy lifting for you. That's where we come in. We not only know the territory but also possess the experience and tools to ensure the job is done right and on time. Our movers allow you to spend more time with your loved ones or finish up on important assignments before you finally relocate to a new residence or place of business.
Local relocations are typically those that cover less than 100 miles from the origin. If you are living in Thornhill and you plan to relocate within 100 miles, you need to partner with a local moving specialist. At Let's Get Moving, we specialize in local relocations too. If you want to relocate around the Thornhill area, we are highly experienced to make the process smooth and effective for you.
We've relocated businesses within the region helping them to minimize downtime and costs. We've also helped households start over by relocating within Thornhill with ease and enjoying the highest quality of service. Our desire is to constantly exceed your expectations. We look forward to ensuring your belongings get to the new residence safely and on-time. We know Thornhill like the back of our hands so be rest assured that you're working with local movers with massive experience.
Commercial relocations can come with many challenges. First, you need to decide on the best time to move in order to avoid losing productivity or causing significant disruptions in your business. As your commercial relocation specialist, we will help you plan the entire project taking into account your goal of achieving business continuity.
There's really no commercial or office relocation project that's too complex for our staff to handle. We've helped numerous businesses in Thornhill to set base in a new premise with ease. Our staff not only have the skill and experience but they come fully equipped to handle any concerns you may have when it comes to commercial relocations.
Whether you prefer to handle the packing yourself, or want us to relieve the stress of packing for you, we will provide you with any relocation service you need. We help prevent any issues that may occur during the move such as safely packing your delicate items, disassembling furniture and appliances as well as making sure your moving boxes are properly labelled. Get in touch with us today to discover your options.


We are living in an advanced technology, where every part of life related to science from one way or another. No doubt over the year's technology has been creating so many outstanding useful resources which all need information put in our fingerprints. The development of technology has many discoveries better facilities, better luxuries, but at the same time it changed our daily life.
The continuous advances in technology have made so many new methods of electronic communication, such as social networking websites, emails, voicemails and video conferences. The advanced technology tools helped to take less time and cover the distances with effective communication. This is not only beneficial for our personal relationships, but also to education and business. It has improved our cultural education by giving the opportunity to the children to communicate with other countries children and learn about culture.
One of the biggest changes in our home entertainment like was the switch from videotapes to CDs/DVDs. Another huge technological advance was the introduction of LCD TV. The previous television screens with lower definition and poor quality. Today we can enjoy different types of home technology from smart TVs to Xbox units.
Housing and lifestyle have also improved by the modern technology. The most of the items in your home today are automated, which makes your life so easy and safe. The advanced technological solutions made such automated doors, security cameras, and lighting controls. We have any access to all sorts of information, news.


text:
Laptop of Poppi Worthington's father that could 'solve mystery' of little girl's death discovered by police
Poppi (left) and Paul Worthington
Crown Prosecution Service
Poppi Worthington father's laptop that could help "solve the mystery" of the 13-month-old's death has been discovered by police.
The breakthrough comes almost six years after the girl suffocated on her father Paul Worthington's double bed after, a coroner ruled, she had been sexually assaulted by him.
Mr Worthington is understood to have passed the laptop to neighbour Wayne Roebuck in Barrow-in-Furness after his daughter's death.
Police never seized the laptop in December 2012 despite Poppi's father admitting he watched "X-rated adult" pornography on it.
Mr Roebuck, 39, was questioned by police in March. He claimed he passed the computer to another man who moved to Birmingham, according to the Sunday Times.
Nazir Afzal, who decided not to charge Mr Worthington in 2015 as head of the CPS for the North West, told the paper the laptop "could solve the mystery of what happened" and that "without examining it, we'll never know".
Poppi Worthington
It is now being forensically analysed by experts to determine what data was on the hard drive before it was sold.
Cumbria Police's inability to confiscate the laptop was one of a series of failures by Cumbria Police who lost vital evidence during their investigation which meant no one has been prosecuted over Poppi's sexual abuse and death.
The Crown Prosecution Service ruled in March that despite courts three times having found that Mr Worthington probably sexually abused his daughter before her sudden death, he would not face charges due to a lack of evidence.
Mr Worthington denies any wrongdoing and is now living in hiding with the help of police protection.
Prosecutors refused three times to put him on trial as police blunders meant there was "insufficient evidence" to charge him.
Speaking after a coroner found the toddler's father sexually assaulted her before she died in January, Poppi's mother, who cannot be named, said that the "past five years have been a complete nightmare" and she was "relieved that despite there being some gaps, she is now closer to the truth, even though that truth is devastating".
Recording a narrative verdict with the case of death as asphyxia caused by "unsafe sleeping conditions", David Roberts said that at some time after 2.30am, Poppi was taken from her cot into the double bed, where she was assaulted.
Nazir Afzal, who decided not to charge Mr Worthington in 2015 as head of the CPS for the North West Credit: BBC
He said the verdict of unlawful killing was not available to him, as he would need to be satisfied beyond all reasonable doubt that she had died as a result of murder or manslaughter, and he had concluded the abuse did not kill her.
Poppi was failed by authorities almost from the moment police were informed of her death. Officers did not secure the scene and allowed vital evidence, including her nappy, to be thrown away. Despite a pathologist raising concerns that she had been sexually assaulted, a criminal investigation was not opened for eight months, meaning that no witnesses were formally interviewed.
Poppi was buried after her body was released by the coroner in February 2013, despite the full inquest not having concluded, meaning her cause of death was never formally established.


text:
We Don't Need Another Church Committee, We Need a Reformation
What Congress did in the 1970s to "fix" the FBI and the CIA is the problem, not the solution.
By Glenn Ellmers
If congressional Republicans are going to reform the FBI and the national security state—which is something they should do—they need to understand the real source of the problems.
The last thing we need is another Church Committee.
I respect Darren Beattie and Steve Bannon—two of the most prominent voices citing the reforms undertaken by Congress in the 1970s as a precedent for congressional action today.
They are, however, missing a key point: what Congress did 50 years ago did not fix any problem; it created this problem. The outrageous partisanship and misuse of power we've seen over the last few years from the intelligence community and the Justice Department are exactly what Congress intended in the 1970s.
Of course, the investigations undertaken by Congress after Watergate—led in part by the late Senator Frank Church (D-Idaho), whose name is now associated with this whole episode—certainly did expose many abuses by the CIA and the FBI.
And stalwart Republicans like Jim Jordan (R-Ohio) are absolutely correct that the new Republican majority in the House needs to use its power to fight the FBI and the rest of the administrative state. Voters have to hold Speaker Kevin McCarthy's (R-Calif.) feet to the fire and ensure that he won't use his position to continue with business as usual.
But with such a slim majority, the House Republicans don't have the votes to pass meaningful legislation. And a Senate and White House controlled by Democrats ensure that any bills passed by the House would go nowhere in any case.
The most effective course, therefore, would be to use the power of the committee chairmanships to investigate and expose the unconstitutional usurpations of the permanent government, or "fourth branch." This must include giving committee chairmen like Jordan subpoena power to compel recalcitrant bureaucrats.
But as I've pointed out in a recent book review in The New Criterion and a podcast with Lee Smith, today's CIA and FBI are behaving exactly the way Congress intended.
The so-called reforms of the Church Committee were only a small part of sweeping changes Congress implemented in the 1970s that took advantage of a weakened presidency (and carefully managed public narrative) in the wake of the Watergate affair. The essential purpose of these changes—which fundamentally altered the constitutional separation of powers—was to bring the permanent bureaucracy under the control of the uniparty congressional leadership, most often (though not always) controlled by Democrats. It is no accident that the nominally Republican McCarthy seems more interested in the perks of his office, and accommodating himself to the D.C. establishment, than representing the wishes and interests of his base.
After Watergate, Congress—using the demonized Richard Nixon as a convenient punching bag—cleverly painted the real abuses of the FBI and the CIA as the fault of an unaccountable chief executive. But in many respects, the bureaucracy had already stopped being answerable to the elected president. What Congress did in the stunningly ambitious, and overwhelmingly Democratic, 93rd Congress (January 1973 to January 1975) amounted to a massive transfer of power away from the president—who is the only constitutional officer who represents all of the American people.
Along with "reforming" the Justice Department and the national security agencies, Congress gave itself many powers that the founders had specifically placed elsewhere:
The War Powers Act and the Impoundment Control Act gave Congress massive new authorities previously held by the president. (It is no accident, by the way, that the only real attempts over the last 50 years to bring the bureaucracy under control and reassert the sovereign authority of the people were undertaken by Presidents Richard Nixon, Ronald Reagan, and Donald Trump. The first and last were destroyed by the deep state as thanks for their efforts.)
The Federal Highway Act, Endangered Species Act, and Safe Drinking Water Act crippled federalism by centralizing in Washington, D.C. many responsibilities formerly exercised by the states.
The Privacy Act, the Legal Services Corporation Act, and the Federal Elections Campaign Act gave Congress alarming new powers to manipulate the political process to favor a liberal agenda and strengthen the Democratic Party.
What happened with the FBI and CIA, in particular—through the new congressional-bureaucratic nexus established in the 1970s—was especially worrisome because of the potential for these agencies to misuse their police powers and surveillance abilities for political purposes. The Justice Department, to reiterate, has become the enforcement arm of the Democratic Party in large part because that is precisely what Congress intended.
What we need now is to undo the legacy of the Church Committee. I hope I won't offend any Catholic readers with this pun, but we need to fix the Church. We need a Reformation Committee.
About Glenn Ellmers
Glenn Ellmers is the author of The Soul of Politics: Harry V. Jaffa and the Fight for America and the Salvatori Research Fellow of the American Founding at the Claremont Institute. He is a fellow of the Center for American Greatnsss.
Photo: iStock/Getty Images


Liam Neeson looked distraught as he greeted grieving family members and friends who attended a private viewing for his wife, Natasha Richardson, on Friday.
Neeson and sons - Micheal, 13, and Daniel, 12 - attended the Upper East Side's American Irish Historical Society, as well as Richardson's mother, Vanessa Redgrave, and sister, Joely Richardson.
Also attending were Mike Nichols, Diane Sawyer, Matthew Modine, Ralph Fiennes, Uma Thurman and Mathilde Krim of the American Foundation of AIDS Research - amfAR, the charity for which Richardson had served on its board of trustees since 2006.
"She looked incredibly beautiful," Krim said, adding that everyone appeared to in a state of shock and Neeson appeared distraught as he received everybody.
Earlier Friday, friends continued to expressed their shock and grief over her death from the fall she took on a ski slope.
"Natasha was a very close friend of our family, so it's been a very, very sad few days and I think it will stay that way for a good while," Matthew Broderick said. "It's hard to say."
Actor Jonathan Cake said: "I had dinner with her Saturday night. Just the two of us. Saturday night, last Saturday. She left to ski the next day."
The private viewing followed Thursday night's tribute when Broadway theaters dimmed their lights to mark her death.
Richardson, 45, died Wednesday at Lenox Hill Hospital after falling at the Mont Tremblant resort in Quebec on Monday. The New York City medical examiner's office ruled Thursday her death was an accident.
Meanwhile, Montreal's top head trauma doctor said Friday that the lack of medical helicopters in the province of Quebec may have played a role in Richardson's death.
"It's impossible for me to comment specifically about her case, but what I could say is ... driving to Mont Tremblant from the city (Montreal) is a 2 1/2-hour trip, and the closest trauma center is in the city. Our system isn't set up for traumas and doesn't match what's available in other Canadian cities, let alone in the States," said Tarek Razek, director of trauma services for the McGill University Health Centre, which represents six of Montreal's hospitals.
Being driven by ambulance to two separate hospitals rather than airlifted by helicopter directly to a trauma center could have cost Richardson crucial moments, he said.
"A helicopter is obviously the fastest way to get from Point A to Point B," he said.
Centre Hospitalier Laurentien, the first treatment center Richardson was brought to, does not specialize in head traumas, so her speedy transfer to Sacre Coeur Hospital in Montreal was critical, said Razek.
"It's one of the classic presentations of head injuries, `talking and dying,' where they may lose consciousness for a minute, but then feel fine," said Razek.
Razek said immediate treatment might have helped Richardson but added: "There are so many variables it's hard to speculate what might have been done differently."
Associated Press Writer Amy Lutz in Mont Trembland contributed to this report.


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The items of a component can be edited within the component itself or within its rows and cells, provided that the component is switched to the editable mode.
Data updating allows editing info in dedicated input fields, such as UI text. It works regardless of the component's EditAbility state.
in groups, by pushing data from the bound Form / HTMLForm. See the Data Binding article.
1 . Placing selected data to some editor (a UI-related text or a dedicated HTML input field) with the help of an attached event.
2 . Saving the edited data back to the component. It is implemented with the updateItem method that takes two parameters: the ID of a selected item and a hash of new properties for a data item. Called from the component object, the updateItem() function is included into the complex update function.
data.updateItem(sel, item);     // the dataset is updated!
Data binding helps greatly simplify the process and makes editing of several item values convenient. It ensures that a data component (dataview, list, etc.) transmits data to a form / htmlform each time an item is selected in the component.
Read more info on Data Binding.
The function above makes the list a data source for the form, so when an item in the list is selected, the form is filled. Input names in the form must coincide with item properties from the initial dataset (those you include into #hash signs# within data template) for the list.
Having finished editing data in form fields, call the save function to push new data into the list.
The same functionality is used when updating data items loaded from the database. Read about Server-side Integration in the corresponding chapter of the documentation.


The first-ever secure online marketplace for the referral of legal cases will be launched in March 2012 to help law firms maximise the opportunities from referring business to one and other.
Referrals, whether monetised or not, have always been an integral part of a law firms business development but, until now, no consistent method or process has existed to value a referral. By using ReferMarket™, the real market value of a case is established by firms submitting sealed bids for the cases that are listed in the marketplace.
Clients are not charged any fees and unlike other, more traditional referral networks, ReferMarket™ does not charge firms to join or view cases. The cost of procuring a case through ReferMarket™ will almost always be lower than any other lead generation activities as ReferMarket™ simply takes a percentage of the final purchase price.
The reputation rating index of ReferMarket™ means that law firms referring clients and matters have the assurance that they are referring to firms with the requisite knowledge and skills to properly advise and execute the case or transaction.
Further necessary protections are in place to ensure that parties and case-specific details are dealt with anonymously until purchase or sale, so clients and their matters are never at risk from early exposure.
Furthermore, because ReferMarket™ is fully auditable, regulators can be assured of total transparency in the referral process and ReferMarket™ will ensure that it fully complies with the proposed ban on referral fees in personal injury, the details of which have still to be settled. It is expected that the ban will come into force in April 2013.
James Retallack, former General Counsel of Aggregate Industries and now PLC lead for high-level network nexûs professionals, says: "The market for legal services is changing and innovation will be the key. ReferMarket™ is a great concept and one that the nexûs professional network is very pleased to be working with." Law firms will be able to instruct the nexûs professionals network directly using the ReferMarket™ platform should they require a specialist legal expert to consult on a particular client's legal matter.


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Best Lawyers 2021
Oyen Wiggs is pleased to announce that eight of our lawyers have been selected by their peers for inclusion in the 2021 edition of...
Oyen Wiggs Partner George Kondor, Q.C. Explains Color Marks in a Recent Interview with Artisan Distillers Canada
A color can function as a trademark to distinguish one's products from those of others in the marketplace. Under certain circumstances, colors can be...
Oyen Wiggs welcomes Nicholas Garner
Oyen Wiggs is pleased to welcome Nick Garner to the firm as Senior Counsel. Nick brings with him a wealth of experience as a practicing...
Congratulations to Roni and Nikki
Congratulations to Roni Jones and Nikki Alexis who were married on Friday, June 19th through the City of Vancouver's micro wedding program. We wish...
Oyen Wiggs Lawyers recognized in Lexpert Ranking
Oyen Wiggs is proud to announce the recognition of five of its lawyers, Thomas Bailey, Bruce Green, Gavin Manning, David McGruder, and Hilton Sue...
Canadian Law Awards 2020
Oyen Wiggs is pleased to announce that our legal team has been chosen as a Finalist for the Canadian Law Awards, celebrating excellence in...
Oyen Wiggs Named in Canadian Lawyer's "Top 10 Intellectual Property Boutiques"
We're proud to announce that Oyen Wiggs has been named one of the "Top 10 Intellectual Property Boutiques" in Canada by Canadian Lawyer Magazine....
Innovation UBC 2020 Start-up Idea Competition
Jennifer Marles will be at UBC on February 12, 2020 presenting an introduction to intellectual property for the Innovation UBC 2020 Start-up Idea Competition...
Congratulations to David Takagawa
Oyen Wiggs congratulates David Takagawa who has become a Partner of the Firm. David's practice includes life sciences, renewable energy, agriculture, lighting, construction and...
Oyen Wiggs welcomes three new Associates
Oyen Wiggs welcomes Jeff Sun, John Lambert and Josh Ma to the firm. All three Associates have joined the firm after the completion of...


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HVAC Program Led to Great Career for 22-Year-Old
Josiah Shortridge is just 22-years-old, but the facility operator HVAC technician is already thriving in his career.
He recently completed the HVAC (heating, ventilation and air conditioning) trades course offered through Laurel Ridge Workforce Solutions. Shortridge earned his Level 4 certificate over the winter.
Because of the bonus hours he earned while out working during the course, he was able to get to the journeyman level in two years instead of four.
The Culpeper County resident was homeschooled before enrolling in the Workforce Solutions course.
"Both of my grandfathers influenced my decision in pursuing a career in HVAC," Shortridge said. "My dad's father, Frank Shortridge, retired from Fort Belvoir. He worked on chillers and boilers, and later at GTE as the 'air conditioner man.' He had numerous certifications.
"My mother's father, Bill Ensor, retired from York International in Pennsylvania He was a plant machinist who made industrial air conditioning. I spent a lot of time with my Papaw Bill, walking in the woods and talking about how mechanical things work."
Knowing he could finish the accelerated program in two years, rather than four, he enrolled in the trades course at Workforce Solutions.
"I worked for two different HVAC companies installing units for the public while taking the course," Shortridge said. "I really appreciated the Workforce Solutions HVAC program because I was at a time in my life where I lacked direction. The program moved me in a forward direction."
Thanks to FastForward funding, the course cost him one-third of the full price.
"I want to continue my education, and I would recommend this program because it benefited me so much," Shortridge said. "I liked that it was an accelerated class, and it's pretty cheap."
Shortridge was hired by Micron Technology in October 2018.
"I love my job," he said. "They treat me well. It has good benefits and good hours. My goal is to stay with Micron and see where they want me, whether it's engineering or management."
Soon, Shortridge will apply to sit for his journeyman exam.
The average salary for heating and air conditioning mechanics and installers, as well as for refrigeration mechanics and installers, is $54,780, according to data from EMSI.
"The demand for HVAC technicians is so great that any of our students who want to be employed coming out of Level 1 of our course can be," said Workforce Solutions Program Manager Tracey O'Leary.
Learn more about Workforce Solutions' trades courses by visiting laurelridgeworkforce.com/apprenticeship.
Are you inspired by Shortridge's story? Would you like to help other students like him? Please consider making a gift to the Laurel Ridge Educational Foundation at laurelridge.edu/donate


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Kinetic studies of liquid crystalline and isotropic vinylester resins
The curing process of a commercial vinyl ester (VE) resin was characterized by calorimetric and spectroscopic techniques. A phenomenological kinetic model, experienced in previous studies, was employed to describe the proceeding of curing reactions. The model is able to describe the behavior of the processing variables, i.e. rate and degree of the reaction, during the curing of the resin under different conditions (heating rates). The effect of diffusion control phenomena on the reaction kinetics, associated with the evolution of the glass transition temperature as a function of the degree of polymerization and cross-linking, was taken into account in the formulation of the kinetic model. A simpler model was proposed and verified for a liquid crystalline vinyl ester resin, synthesized by the authors. The model, in particular, did not take into account the effects of vitrification. The kinetic parameters were again evaluated by processing the calorimetric data. The kinetic study of the liquid crystalline monomer is performed after isotropization and therefore, the acceleration effect, associated with the cure in liquid crystalline phase is not taken into account for the kinetic analysis. Also in this case, the comparison between theoretical and experimental data was very satisfying.
Titolo: Kinetic studies of liquid crystalline and isotropic vinylester resins
M. E. Frigione
E. Calò
A. Maffezzoli
CARFAGNA, COSIMO
G. Malucelli
MACROMOLECULAR CHEMISTRY AND PHYSICS
Abstract: The curing process of a commercial vinyl ester (VE) resin was characterized by calorimetric and s...pectroscopic techniques. A phenomenological kinetic model, experienced in previous studies, was employed to describe the proceeding of curing reactions. The model is able to describe the behavior of the processing variables, i.e. rate and degree of the reaction, during the curing of the resin under different conditions (heating rates). The effect of diffusion control phenomena on the reaction kinetics, associated with the evolution of the glass transition temperature as a function of the degree of polymerization and cross-linking, was taken into account in the formulation of the kinetic model. A simpler model was proposed and verified for a liquid crystalline vinyl ester resin, synthesized by the authors. The model, in particular, did not take into account the effects of vitrification. The kinetic parameters were again evaluated by processing the calorimetric data. The kinetic study of the liquid crystalline monomer is performed after isotropization and therefore, the acceleration effect, associated with the cure in liquid crystalline phase is not taken into account for the kinetic analysis. Also in this case, the comparison between theoretical and experimental data was very satisfying.


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