Whilst on hold with one of my customers today I was treated to this 1974 funk delight: "What Is Hip?" by Tower Of Power.
I later hung up after being left on hold for too long.
I recently got into The Weepies, an indie pop-folk band fronted by singer-songwriters Deb Talan and Steve Tannen (no relation to "Biff Tannen" from Back To The Future) out of Cambridge, Massachusetts. Since 2003, the duo has put out 3 albums and has one more on the way next month. Not sure how they slid past my radar all these years but I have a feeling they are to become my next obsession.
For some reason I had this scene in my head for days. The song itself is called "Jump In the Line" composed by Trinidadian calypsonian Lord Kitchener (Aldwyn Roberts) in the late 40's. It was then re-recorded by Harry Belafonte in 1961, the version used in "Beetlejuice".
Also to note: In 1998, the song was covered by American rock/swing band the Cherry Poppin' Daddies for the soundtrack to the movie BASEketball.
Off 2007's, "The Boxer." Great tune, found it done "open-mic" style. The setting really accentuates singer/songwriter Matt Berninger's baritone.
The National - Slow Show (Part 2 of 3) from Bandwidth on Vimeo.
Studio version below. The acoustic above lacks the piano ending which really makes the song.
Really digging this video. I love the shots of the 80's pink Kramer guitar. One of the first to have the "original" Floyd Rose bridges.
6 months into 2010 there's been a bunch of good tunes. I was going to focus my mid-year tops list on albums but since moods change so much in 6 months I just assume individual tracks would work better.
- "Vaporize" by Broken Bells is now the #1 most listened to track on my iPod.
- I fell in love with "Brand New Shoes" by She & Him when I saw them @ The Bowery Ballroom a few months back.
- "Brothers" by The Black Keys is arguably one of my favorite album covers of the past decade.


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Amolatar (district), een district in het noorden van Oeganda
 Amolatar (stad), een stad in het district Amolatar

redpajama_set_name: RedPajamaWikipedia


Fans of Childish Gambino Are Going to Hate This!
You'd better get tickets to see Childish Gambino if he comes to your part of the country because he says this the last tour for him...under this name.
Childish opened his This Is America tour in Atlanta last night. He told the audience, "If you're at this show know it's the last Gambino tour ever."
He was careful to word that very carefully, It's the "last Gambino tour." That's not to say he wouldn't tour under a different name. Hmmm.


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US forces on guard in Iraq, even as troop levels are expected to decline
By: Victoria Leoni February 6, 2018
U.S. troops assist Iraqi forces at the Syria border amid drawdown
US troops continue assisting Iraq forces along Syria border as wider US drawdown begins. (Associated Press)
It's been nearly two months since Iraq declared victory over ISIS, but the fight isn't over yet.
In a newly released video, U.S. troops, many of whom are with the Texas National Guard's 36th Infantry Division, are shown assisting Iraqi forces along the border with Syria, where many Islamic State fighters have fled as the terror group has continued to lose territory it once held in Iraq.
Now, as the U.S. presence in Iraq is expected to decline, Iraqi and coalition forces want to ensure those fighters cannot return.
"We've pursued ISIS to the border and are currently working with the Iraqi security forces to ensure ISIS is not able to come back across the border and penetrate into Iraq," Army Lt. Col. Colonel Brandon Payne said in the video, which was produced by the Associated Press.
In addition to protecting the Iraq-Syria border, U.S. forces are concerned about the possibility of conflict on the Syrian border with Turkey.
Turkey sets sights on Syrian region where US forces operate
After crossing the border to attack Kurdish forces in Afrin, Syria, the Turkish military has started refocusing roughly 60 miles east, towards Manbij, where U.S. forces are known to operate.
By: Kyle Rempfer
"There's concern … that an entry or any type of action by Turkish Defense Forces … is going to pull troops away from the fight against ISIS, and it might give ISIS opportunities or even freedom of maneuver ... to attack other Syrian Defense Forces more aggressively or possibly even Iraqi Security Forces along the Syrian border," Army Capt. Josh Standifer said in the video.
As of December, there were 5,200 U.S. troops in Iraq, according to a Pentagon report.
On Monday, the AP reported that the U.S. and Iraq have agreed to reduce that number to 4,000 given the progress against ISIS. U.S. officials, including Defense Secretary Jim Mattis, have said they intend to maintain a presence in Iraq even after ISIS is defeated in order to ensure the insurgency does not reemerge.
On Tuesday, Pentagon spokesman Eric Pahon would not say whether there would be a change in the number of U.S. troops on the ground. He did say there would be a shift in the kind of forces on the ground, to focus more on stabilization instead of combat operations against the Islamic State,
"We are looking at the next phase of operations," Pahon said, adding that the "level of forces [in Iraq] will be conditions based."
Reporter Tara Copp contributed to this report.
US, Russian delegations to discuss New START treaty in Geneva
Russian planes continue to deliver parts for missile defense system to Turkey
EU works to save unraveling nuclear agreement with Iran

redpajama_set_name: RedPajamaCommonCrawl


Advisory – The advisor/advisee system fosters collaboration between students, faculty and the administration to help students' self-discovery and growth.
Student Leadership – Student leaders play an active role to foster school spirit at Bluebird. They help organize Spirit Week, pep rallies and themed days.
Prefects – Prefects help to set the tone of the school among the student body. Each year, students are selected as Prefects based on their community respect, personal integrity and ability to positively impact student life at Bluebird. As Prefects, they work closely with the faculty and administration, organize school activities, and lead by example.
Community Care Committee -The School Community Care Committee provides a context for leadership in service to school and community. Membership is voluntary. In these committees, students create service projects and programs, gather support for service endeavors, explore ways to respond to local and global needs, and discuss ways to strengthen Community Service at Bluebird.
Retreats and Trips – Class Retreats: Each class has a retreat that strengthens the Bluebird community by building friendship among students and allowing them to get to know the faculty.
School Trips and Trekking: At Bluebird, trips are organized leading curious mind to visit places of interest, where children learn the joy of preservation of the environment, the gift of loving and caring for plants, animals, and nature as a whole. Bluebird ensures yearly trekking into mountainous pathways to make life and sport an exciting adventure for the young.
Senior Trip: This is the culminating event for the graduating class. It gives them the chance to spend time together and further cement lasting friendship.
School Fete –Bluebird alumni, faculty, students and their families come together on campus to enjoy activities, a picnic lunch and sporting events at this annual celebration.
School Day – We celebrate the spirit of the school day with a daylong display of our students' musical, theatrical, and artistic talents. It is a fun-filled and eagerly anticipated day.


12432 Hazrat Nizamuddin Trivandrum Rajdhani Express train from Hazrat Nizamuddin to Trivandrum runs on Sunday, Tuesday, Wednesday, covering 3010 kms in 45 hours & 35 minutes, running at a speed of 68.31 km/hr, making 17 stoppages of 91 minutes in total.
Returning train number 12433. Hazrat Nizamuddin Trivandrum Nzm Tvc Rajdhani Express commences from Thiruvananthapuram Central at 10:55 and reaches Hazrat Nizamuddin at 08:30. It runs on sunday, tuesday, wednesday.


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Q: JSON array returns data but cannot be set to the layout I am trying to parse JSON data from an online source. I used debugging and saw that JSON data was returned just fine to the activity. However, when I run the app, the activity where this data is supposed to appear, it appears blank. I suppose there is something wrong with how I am inflating the list with this data.
The tutorial I am using is: http://www.androidhive.info/2012/01/android-json-parsing-tutorial/
Please help me fix this.
Here is the activity code:
package com.plusworks.appdev.youcancook;

import android.app.ProgressDialog;
import android.content.Context;
import android.content.Intent;
import android.os.AsyncTask;
import android.os.Bundle;
import android.util.Log;
import android.view.LayoutInflater;
import android.view.Menu;
import android.view.MenuItem;
import android.view.View;
import android.widget.FrameLayout;
import android.widget.ListAdapter;
import android.widget.ListView;
import android.widget.SimpleAdapter;
import android.widget.TextView;

import org.json.JSONArray;
import org.json.JSONException;
import org.json.JSONObject;

import java.util.ArrayList;
import java.util.HashMap;

public class CuisineDishes extends BaseActivity {
    private ProgressDialog pDialog;
    ListView dishList;
    ArrayList<HashMap<String,String>> cuisineDishList;
    private static String url = "http://youcancook.site90.com/amdishes.json";
    JSONArray dishes=null;

    private static final String ARRAY_DISHES="americandishes";
    private static final String ID="id";
    private static final String NAME="name";
    private static final String SHORTDESC="shortdesc";

    @Override
    protected void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        FrameLayout fl = (FrameLayout) findViewById(R.id.main_content);
        LayoutInflater inflater = (LayoutInflater) this.getSystemService(Context.LAYOUT_INFLATER_SERVICE);
        View contentView = inflater.inflate(R.layout.activity_cuisine_dishes, null, false);
        fl.addView(contentView);

        Intent mIntent = getIntent();
        String cuisineName = mIntent.getStringExtra("CuisineName");

        getSupportActionBar().setTitle(cuisineName + " Dishes");

        cuisineDishList=new ArrayList<>();
        dishList = (ListView) findViewById(R.id.dish_list);
        new AsyncDishModel().execute();
    }

    private class AsyncDishModel extends AsyncTask<Void,Void,Void>{
        @Override
        protected void onPreExecute() {
            super.onPreExecute();
            // Showing progress dialog
            pDialog=new ProgressDialog(CuisineDishes.this);
            pDialog.setMessage("Fetching dishes...");
            pDialog.setCancelable(false);
            pDialog.show();
        }

        @Override
        protected Void doInBackground(Void... params) {
            ServiceHandler sh=new ServiceHandler();
            String jsonStr=sh.makeServiceCall(url, ServiceHandler.GET);
            if(jsonStr!=null){
                try{
                    JSONObject jObject=new JSONObject(jsonStr);
                    dishes=jObject.getJSONArray(ARRAY_DISHES);
                    for(int i=0;i<dishes.length();i++){
                        JSONObject c=dishes.getJSONObject(i);
                        String id=c.getString(ID);
                        String name=c.getString(NAME);
                        String shortdesc=c.getString(SHORTDESC);

                        HashMap<String,String> templist=new HashMap<String,String>();

                        templist.put(ID,id);
                        templist.put(NAME,name);
                        templist.put(SHORTDESC,shortdesc);
                        cuisineDishList.add(templist);
                    }
                } catch (JSONException e) {
                    e.printStackTrace();
                }
            }
            return null;
        }

        @Override
        protected void onPostExecute(Void result) {
            super.onPostExecute(result);
            // Dismiss the progress dialog
            if (pDialog.isShowing())
                pDialog.dismiss();
            /**
             * Updating parsed JSON data into ListView
             * */
            ListAdapter adapter = new SimpleAdapter(
                    CuisineDishes.this, cuisineDishList,
                    R.layout.cuisine_dish_list_item, new String[] {ID,NAME,
                    SHORTDESC}, new int[]{ R.id.mId,R.id.title_dish,
                    R.id.desc_dish});
            dishList.setAdapter(adapter);
        }
    }

    @Override
    public boolean onCreateOptionsMenu(Menu menu) {
        // Inflate the menu; this adds items to the action bar if it is present.
        getMenuInflater().inflate(R.menu.menu_cuisine_dishes, menu);
        return true;
    }

    @Override
    public boolean onOptionsItemSelected(MenuItem item) {
        // Handle action bar item clicks here. The action bar will
        // automatically handle clicks on the Home/Up button, so long
        // as you specify a parent activity in AndroidManifest.xml.
        int id = item.getItemId();

        //noinspection SimplifiableIfStatement
        if (id == R.id.action_settings) {
            return true;
        }

        return super.onOptionsItemSelected(item);
    }
}

The service handler is the same as given in the tutorial.
Here is my activity layout code:
<RelativeLayout xmlns:android="http://schemas.android.com/apk/res/android"
    xmlns:tools="http://schemas.android.com/tools"
    android:layout_width="match_parent"
    android:layout_height="match_parent"
    android:paddingBottom="@dimen/activity_vertical_margin"
    android:paddingLeft="@dimen/activity_horizontal_margin"
    android:paddingRight="@dimen/activity_horizontal_margin"
    android:paddingTop="@dimen/activity_vertical_margin"
    tools:context="com.plusworks.appdev.youcancook.CuisineDishes">

    <ListView
        android:id="@+id/dish_list"
        android:layout_width="fill_parent"
        android:layout_height="wrap_content"></ListView>

</RelativeLayout>

Here is the code for cuisine_dish_list_item.xml
<?xml version="1.0" encoding="utf-8"?>
<LinearLayout xmlns:android="http://schemas.android.com/apk/res/android"
    android:layout_width="match_parent"
    android:layout_height="match_parent"
    android:orientation="vertical"
    android:padding="10dp"
    android:paddingLeft="10dp"
    android:paddingRight="10dp">

    <TextView
        android:id="@+id/title_dish"
        android:layout_height="wrap_content"
        android:layout_width="match_parent"
        android:text="Title"
        android:textSize="30dp" />

    <TextView
        android:id="@+id/desc_dish"
        android:layout_height="wrap_content"
        android:layout_width="match_parent"
        android:text="Short Description"
        android:textSize="20dp" />

    <TextView
        android:id="@+id/mId"
        android:layout_height="wrap_content"
        android:layout_width="match_parent"
        android:text="ID"
        android:visibility="invisible" />

</LinearLayout>

A: You have to make custom adapter by extending your class with BaseAdapter class and then set your customer adapter to dishlist.
for custom adapter example you can follow http://www.vogella.com/tutorials/AndroidListView/article.html

redpajama_set_name: RedPajamaStackExchange


text:
Bruce Grove – stacja kolejowa w północnym Londynie, w dzielnicy Haringey, obsługiwana przez brytyjskiego przewoźnika kolejowego National Express East Anglia. W systemie londyńskiej komunikacji miejskiej, należy do trzeciej strefy biletowej. Została otwarta 22 lipca 1872 roku. Stacja znajduje się w pobliżu Bruce Castle Museum.

Galeria

Linki zewnętrzne
 Profil stacji w bazie brytyjskich dworców kolejowych

Stacje i przystanki kolejowe w London Borough of Haringey


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Tag: Darren Moore
Bielsa cautious about maintaining top spot
Leeds manager Marcelo Bielsa claimed that the club should remain focussed in the Championship after returning to the top of the table by beating West Brom. Leeds were able to get a comprehensive 4-0 success over West Brom to overtake Sheffield United and Norwich City. Even though the latter has the choice of getting back the top spot with a win from their game in hand, there is no denying the added pressure on the Canaries. Bielsa has seen his Leeds team come up with some inconsistent performances of late. The lack of consistency is usually not a major problem in the Championship when teams tend to drop points at various points in the campaign.
West Brom had been one of the favourites for promotion throughout the campaign but Darren Moore's team were outclassed by Leeds, who took the lead through Pablo Hernandez. The lead was doubled by Patrick Bamford in the 28th minute. Even though the Baggies tried to get back into the game through a strong performance at the start of the second half, Leeds managed to arrest any likelihood of a comeback with further goals in the second half. Bamford was able to score more goals in the second half. Even though Leeds have regained top spot, Bielsa was cautious about sustaining this position.
index, March 13, 2019. Category: Leeds United. Tagged: Darren Moore, Marcelo Bielsa, Pablo Hernandez.


text:
Posts Tagged 'art and environment'
Anti "commercial" art, Luk Tsing Yuen comments on corporate greed: video
INTERNET TV 3D ART VIDEO
Art Radar Asia brings you yet another insightful video from Internet channel ChooChooTV's show [art]attack. This four minute production allows Hong Kong-based social artist Luk Tsing Yuen to explain his art output and offers viewers a chance to share space in his studio.
Luk Tsing Yuen
A fairly young artist, Luk Tsing Yuen received his BA in 2005 and is currently a student of Art and Design in Education at The Hong Kong Polytechnic University.
Tsing Yuen takes the viewer on a tour of some of his recent works explaining each with a background of his inspirations and concerns. Working with 3D objects, Tsing Yuen uses a certain plastic type known as polyurethane. Fashioning plastic into detailed objects in response to social issues like the preservation of the environment and the commercialised culture crisis, Tsing Yuen's works combine a passionate feeling for social needs and aesthetic imagination.
In a work called Art becoming merchandise, Tsing Yuen shows us what looks like a display box within which rows of decorative objects are stuck to the wall. Referring to the theme of assembly line production of culture and art, he places each "art" object as a product like any other – mass produced. He goes on to say,
I want to express the fact that businessmen are destroying our history and artwork.
Another artwork features multiple slabs of transparent plastic within which one sees fossilized butterflies that have retained their colorfulness. Tsing Yuen says that the inspiration for this work was derived from a recent construction site at the Fung Yuen butterfly reserve where in the name of a better environment, the dust and grime from the construction was killing a great number of protected butterflies.
Luk Tsing Yuen has participated in several local solo and group exhibitions including "Fotanian" (2003), "A Person A [ ]" (2004), "Local East-Kowloon Art In Progress" (2006), "Industry and Silence" (2007), and "Passionate Objects" (2008) and is currently based in Hong Kong.
Watch the video on the ChooChooTV show [art]attack (length of video, 4:03 minutes).
AM/KN
Related Topics: Hong Kong artists , biological art, consumerism
Rise of the celebrity artist – Vietnamese artist Trong Nguyen featured on Bravo TV reality series – July 2010 – a look at the TV series Work of Art: The Next Great Artist on Bravo TV
First Hong Kong solo for Korean artist Lee Jae-Hyo – July 2010 – discusses some of the artists' most substantial works: "Nail" and "Wood" series
Ex-Tate Modern director Lars Nittve to join West Kowloon M+ – July 2010 – an exploration of Nittve's recent appointment to the West Kowloon team
Your interpretation or mine? Hong Kong artist Chow Chun Fai reflects in video interview – July 2010 – also from ChooChoo TV's ArtAttack, watch the artist share the paradox of meaning of art
Japanese sculptor Kohei Nawa speaks on new internet TV platform Studio Banana – May 2010 – a rare glimpse into the works of Nawa where the artist reveals the Internet as a source of great inspiration
Subscribe to Art Radar Asia for more on emerging artists and platforms
Posted in 3D Max, Activist, Art and internet, Artists as celebrities, Bio (biological) art, Consumerism, Design, Emerging artists, Environment, Fragile art, Hong Kong Artists, Installation, Large art, Luk Tsing Yuen, Sculpture, Videos | Tagged: 3D art, 3D objects, A Person A [ ] (2004), A Person A[], Ananya Mukherjee, Art and Design in Education, art and environment, Art becoming merchandise, art commercialisation, butterflies, ChooChooTV, decorative objects, environment art, Fotanian (2003), Fotonian, Fung Yuen butterfly reserve, hong kong, Hong Kong art, Hong Kong Artists, Hong Kong Polytechnic University, Industry and Silence, Industry and Silence (2007), Internet TV, Local East - Kowloon Art In Progress (2006), Local East-Kowloon Art in Progress, Luk Tsing Yuen, mass production, mass-produced art, Passionate objects, Passionate Objects (2008), Plastic Art, Polyurethane, sculpture, Social activism, social art, Video, Video Interview, [art]attack | Leave a Comment »
Renowned Japanese artist Hiroshi Senju chooses Hong Kong for his solo debut – interview
Posted by artradar on October 2, 2009
It was the biggest night of the year at one of the most prominent art galleries in Asia. Hiroshi Senju's opening of Out of Nature: Cliffs and Falling Water at the Sundaram Tagore Gallery in Central, Hong Kong has been planned for 2 years, and the gallery was naturally delighted to be selected by the renowned Senju to display his artworks. The gallery was so pleased because Hiroshi Senju is among an elite few of international artists who can have their pick of any gallery in the world to showcase their work, and it is notable that he chose Sundaram Tagore. However, more importantly, he also chose Hong Kong.
Senju's Sundaram debut marks his first solo show in Hong Kong, which introduces the first 4 paintings in his highly anticipated Rocks and Cliffs series. Throughout the opening event, gallery staff nervously guarded Senju's 16 signature waterfall paintings and 4 new cliff-themed works, as cheery guests sauntered dangerously close to the $200,000+ (USD) paintings while sipping glasses of champagne.
For those who don't know, Hiroshi Senju is an important player in the art world, and would be at the top of a hypothetical who's-who among Asian artists, or all international artists for that matter. He was thrust into art stardom in 1995 when he became the first Asian artist to receive an award at the Venice Biennale while representing Japan, and he is now among the most celebrated contemporary artists in Asia. In 2003 he became the Director of the Kyoto University of Art and Design, where he also currently teaches art. He now splits his time between Japan and New York, spending about 8 months of the year in NYC working out of his intriguing converted-power-plant art studio.
In an exclusive interview, Hiroshi Senju discusses his career and inspiration with Art Radar. Read on to discover why he chose Hong Kong for his new series debut, why he doesn't consider himself a Japanese artist or even particularly connected to Japanese culture, and what he believes is the greater purpose of contemporary art.
Hiroshi Senju, Waterfall, 2009, Natural pigments on Japanese mulberry paper, 90.9 x 116.7 cm. Image courtesy of the Sundaram Tagore Gallery.
Where did you grow up, and where were you educated? Were there any major influences or people in your life pushing you toward the arts?
I've lived in Tokyo since kindergarten, all the way to my graduate school. So, I've lived in Tokyo for a long time, and now I'm living in New York. I lived in a quiet suburban neighborhood, but my elementary school was far away, so I had to take trains and buses to go to school. My parents discouraged me from art. Since elementary school I went to a competitive private school, where there was no test to get into college. The university that I went to was very competitive, the children of politicians and business owners graduated from there, many who became politicians and doctors. My father was a famous economist and my grandfather was a famous medical doctor. My parents encouraged me to become a scholar or foreign diplomat. So, since elementary school I studied very hard to become that, and it was a surprise to them when I wanted to become an artist.
When did you know you were an artist?
I liked art since I was a child. My artwork was represented in my primary school every year, which was unusual, so since then I knew that I had some talent for art, but I never thought I would become an artist. When I started thinking about going to art school I was in high school, but there were so many choices, graphic arts, architect, product designer, so I had a hard time deciding what to become in the field of art. But when I was in high school one of the art teachers suggested I go to a certain exhibition. That exhibition was all done in the style of painting that I do now, which is 'Nihonga' style. So as a high school student I was very impressed with the pigments, and I decided I wanted to make art with these kinds of pigments.
In which countries and cities do you spend most of your time?
I probably spend the most of my time in an airplane, that means I travel a lot! But really, I spend about 2/3 of the year in New York in the studio, and 100 days in Kyoto where I am the president of the art university. Other than that I am traveling around the world looking for motifs, especially to Brazil and Argentina.
Do you have a deep connection to any other places or cultures other than Japan?
I don't necessarily feel connected to Japan. I do not follow any certain culture, but a modern culture. We eat Indian, Chinese, and French food, we drink wines and sake. And sushi. This is what modern people are all about. I want to speak as a cosmopolitan, so therefore I do not necessarily want the audience to feel 'oh, this is Japanese, or this is Chinese'. There may be some connections to German works of art as well. I try to keep an equal distance from all cultures. But, at the same time, I explained that I love the pigments and that's why I started this kind of painting. I would like to connect to before the ages when all the people were divided, before the races were divided into east and west, before the culture was divided into east and west.
Which cultures and art scenes do you follow the most?
One thing I really like is 11th century Chinese art. So when I created this new series of work called The Cliff, I could have shown anywhere in the world, but I chose Hong Kong. I felt that the Hong Kong audience will be the most critical audience, since they have the traditions of the work that I love, 11th century Chinese art.
Which artists do you admire?
I admire Claude Monet, Max Ernst, Andy Warhol. All these masters created art and art history. I respect this and all the arts. If I had to choose one, which is very hard, I would choose the Italian Renaissance. Those people have left a big footprint in art history.
Which contemporary artists are you most interested in?
Since I am an artist I am most interested in myself.
What things inspire you?
The inspiration I value the most are the emotions that all humans feel. I value this not as an artist, but as a human being. Also, I like to read Haruki Murakami.
What are your favorite things to do when you are not making art?
I play with my kids, my 3 sons. They are 16, 15, and 12. They are in New York.
Why did you first start painting in the ancient style?
As I have studied oil and acrylic painting, I found this style had the most potential. The pigments themselves are extraordinary and paper is very attractive and has many possibilities. Mulberry paper is very strong, even if you tried to rip it you can't. This paper has a long history in Japan. I didn't choose this because it is Japanese, but having equal distance from all techniques, I chose this because it had the most potential.
How did you first begin marketing your work?
It was very difficult. Probably every artist remembers the first piece that was sold. When you think of creating a work to sell, it won't sell. When you first creating a work that you don't want to let go, that's when people start buying.
Who are your major collectors?
Of course many buyers are in the Japan and U.S. Many entrepreneurs. I shouldn't mention names.
How long does it take to produce an artwork?
Since I'm 51 years old, I can say that the work all took 51 years to create. What it means is that since I've lived 51 years, and it took this long for me to decide to use these pigments and find motifs to create the work. That is the most accurate. However, if you mean how long I actually spend creating a single painting, each one takes about a month.
Tell me about how you work? A typical piece?
When you start painting you should not spend too much time wondering. You have decided you are creating, and you put on your best efforts to create. I do not look at the cliff and say, oh, that is such a beautiful cliff, I want to paint now. It is different from that. I have emotions I want to express, and creating a cliff would exactly show what I want to say. That's how I create them. First emotions, then the image comes. When I first look at the cliff there is an emotion I had, and with this cliff I can express my emotion. But that's only 5% of the work. The other 95% of the work is communication between myself and the canvas.
There is a sculptor who sculpts from stone, and he says that all he does is get the art out of the stone. What he is going to create is sitting inside the stone, and all he does is get it out. When I create the work, the painting tells me what it wants me to do. I listen to the voice of the painting. It is nothing spiritual and isn't an Asian concept– but most artists, I think this is how they create work.
What kind of space do you work in?
I use my studio, which previously was an electrical factory, or a power plant. It is so large there that my assistants carry the phones around so they can get to it in time when it rings. Previously I used the university's art studio as a student. It is important to remember the humbling feeling of using the universitys art studio as a student. Students work out of pure love and joy for creation. It is important to keep that.
Where were you inspired to make this current Rock and Cliff series?
These cliff pieces are the first 4 in this series that I have created. I found these cliffs in my dreams, although I did sketch places in Argentina. I went to paint in Argentina during the summer to look for motifs like waterfalls.
What are your next projects?
I'm planning on making a national guest house, working with Mr. Tadao Ando, an architect. There are many more projects, for example an airport project, train stations, and a building in Singapore. I'm very happy and lucky that I have such exciting projects.
Is there a piece in the show especially meaningful to you?
These paintings are like my children, therefore I cannot differentiate one f'rom the other. I like each one of them, and that is my truth.
Hiroshi Senju, Waterfall 2009, Natural pigments on Japanese mulberry paper, 90.0 x 116.7 cm. Image courtesy of the Sundaram Tagore Gallery.
Advice for Young Artists
Was it hard starting out? What advice would you give young artists and aspiring art directors?
First is confidence, second is courage, third is talent. Being confident and able to encourage yourself is more important than talent, because everyone has a talent. As long as you believe in yourself and encourage yourself, it will come through. I encourage everyone to pursue their dreams.
What mistakes do you think artists make most in terms of developing their careers? What should they be doing?
Artists can over value their work too much or think of their work too highly. However, at the same time you cannot undervalue it either. You must become objective.
How has the contemporary art scene changed since you began working with it?
The contemporary art situation changes depending on the economic situations in the world. Luckily I have been unaffected, but it is unfortunate the economy dictates the art scene. Since I am connected to someone with great respect in the art world, I can stick to what I want to create. It is important to be connected to a good gallery.
Which Japanese institutions and galleries do you admire and recommend to art lovers?
First, Tokyo National Museum, and also the Kyoto University of Art. I am the president there, but I do not recommend it because I am the president- I took the job because I had so much respect for the institution.
How would you recommend artists approach galleries for representation and what advice would you give about having a good relationship with a gallery?
Be honest. Gallerists have known of many incoming artists to exaggerate or lie. So be honest and have good quality work. At the same time, you can't sell rock music to an opera fan. You have to find the right dealer.
What problems do you see for young artists today? In what ways are young artists today fortunate?
The economic situation is a problem for young artists. Also, there is too much information. I think too many people are tied to the trends, and trends are created by someone else. As a young artist, you must find what you have and work with what you've got. But, being in the information age is an advantage, because you are able to show your work over the internet. A while ago you had to be in New York. When I was young I had to show something in New York, or else no one would see the work. Now you can create a homepage of your own, and you can submit your ideas through the internet to anywhere in the world.
Contemporary Art: Why Is It Important?
What role do you think contemporary art plays in society?
To bring back memories of things you have forgotten, problems of ecology, the earth's environmental issues, lack of communications, peace, this is the role of contemporary art. For example, my pieces are made out of all natural ingredients, the paper and pigments are natural, the glue is also natural. By using these natural materials I want people to see the powers of nature. Looking at the painting of the waterfall, I want people to appreciate the falling water as a beauty in itself. When I created the cliff I applied the pigment with a scrunched up paper. The scrunched paper is a fault to most people. However, I do not consider the imperfection a problem, but rather I find beauty in it. It's about recycling, and bringing back the things that might have been scarred. I believe these concepts are very important for the 21st century. Do not throw out the paper because it is scrunched, but find beauty in its shapes.
What is your philosophy as an artist? Why create art?
I find it a peace-making process. Like singers sing songs, it is a way of communication. When an artist shows work it is all about communicating. Art is all about communicating with everybody beyond religions and sexes. Therefore it is the peace-making process. I think that is the wonderful part of making art. There is a wisdom within it.
What do you think is the greater purpose of contemporary art?
It helps us understand that everyone has very different ideas, but we are all human beings. I believe that what I think is beautiful, you will think is beautiful also.
What are you trying to achieve or communicate through your art?
I want everyone to remember the concept of beauty, and it is sublime. In beauty I believe there's a lot of power, which gives people encouragement and energy to live.
How do you want people to feel and think when viewing your works?
I want everyone to think like myself! I want everyone to think like how I feel about beauty.
Does water and the waterfall have a special significance to you?
For all human beings, the most important element is water. Deep inside, that's why I wanted to create water.
What has been your biggest challenge in art?
My challenge is in creating and successfully showing every work. Now is the most important time for me. Every day is a challenge.
Skira, the leading Italian publisher, will release a monograph on Hiroshi Senju for worldwide distribution in fall 2009.
Top 5 Sites for Japanese contemporary art news– June 09
Newlink Round up- Art Basel 2009- Indian, Japanese dominate coverage of Asians- June 09
Japanese photographer Hiroshi Sugimoto- 4 fascinating video interviews- May 09
Japanese contemporary art- changes and trends- by gallerist Koyanagi- March 09
Subscribe to Art Radar for artist interviews and latest news
Posted in Gallery shows, Hong Kong, Japanese, Painting | Tagged: art and environment, art and nature, art and peace, art in Hong Kong, Hiroshi Senju, Japanese contemporary art, nihonga painting, Out of Nature: Cliffs and Falling Water, Sundaram Tagore Gallery, water in art | 1 Comment »


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Youngsta, Icicle, J Kenzo, Vivek, Skeptical & SP:MC all b2b for two hours.
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text:
Guatimala or the United Provinces of Central America in 1827-8/6
Page Source Discussion
< Guatimala or the United Provinces of Central America in 1827-8
Part I, Chapter V
Guatimala or the United Provinces of Central America in 1827-8 (1828) by Henry Dunn
Part I, Chapter VI: Iguana, -Gualan, -Town, -Morals, -Customs, Intolerance, -Superstition, -Trade, -Education, -Prisons, -Scriptures.
Part I, Chapter VII
1423123Guatimala or the United Provinces of Central America in 1827-8 — Part I, Chapter VI: Iguana, -Gualan, -Town, -Morals, -Customs, Intolerance, -Superstition, -Trade, -Education, -Prisons, -Scriptures.1828Henry Dunn
Iguana,—Gualan,—Town,—Morals,—Customs, Intolerance,—Superstition,—Trade,—Education,—Prisons,—Scriptures.
The people of Iguana unlike those of Mico, are very accommodating, and willingly render every attention in their power to travellers; so that with very little trouble, a comfortable lodging is procured for the night; that is to say, so far as the idea of comfort can be connected with eating on the ground, and sleeping in the open air, circumstances to which the mind becomes reconciled in a much shorter time than one could imagine.
From this place to Gualan the distance is but short, consisting of only four leagues, and chiefly lying through plantations, some of them in a state of considerable luxuriance. Nearly the whole of the land along the road between Iguana and Gualan is more or less cultivated, principally by Indians, who bring the produce to market at the latter place. Gualan although a town of inconsiderable size, is the only one of importance between Yzabal and Guatimala, (excepting Zacapa, which did not lie in our route.) The entrance to it is by the principal street, at the end of which is the plaza, or market-place, and a neat church. The houses are all of them low, consisting of one story only, with white plastered walls, and red tiled roofs, and very heavy antique windows, having balustrades before them mostly of wood.
The town is estimated to contain about 2000 inhabitants, but no census has been taken.
In Gualan as in all the other towns of Central America, there is no inn, or house set apart for the reception of travellers; we therefore accompanied our Spanish friends to the house of their agent, at which place the alcalde soon arrived to examine our packages. This he did with considerable care, although accompanied with as much civility as could be expected.
The interior of the houses generally consists of only two rooms, separated from one another by a slight wooden partition. In the one which it was our lot to occupy, the whole of us, including the family of our host, dined, and the greater part of us slept; five small beds being placed around it for that purpose. A large wooden table, (a fixture,) and some common wooden chairs, composed the rest of its furniture; two hammocks swung constantly from one end of the room to the other, and three or four swords with several muskets, ornamented its walls.
Soon after our arrival several of the neighbours entered the house, which seemed always open to every visiter. One threw himself in a hammock, others seated themselves on the table, or on beds, and all began at once to inquire the news, and to discuss politics with the greatest vehemence, smoking and spitting on the floor most profusely.
Nothing can exceed the indolence, licentiousness, and ignorance of these people. Their only idea of freedom is, the absence of all restraint, and consequently, in manners and morals they have levelled themselves with the brute creation.
The mistress of the house, a young woman of about twenty, was a complete specimen of filth and vulgar finery. Terribly afflicted with a güegüecho, or swelling of the glands of the neck, she still had sufficient vanity to suppose herself handsome; and dressed in a dashing printed gown, made very low in the body, with pink shoes, and silk stockings, and two gold chains hanging about her neck, she paraded the room like a sultana of the east. A more pitiable object could scarcely be seen. Her husband, an old man of about sixty, exceeded her if possible, in grossness. In this house it was our misfortune to be obliged to remain nine days. The servants, as is invariably the case, imitate their masters, and are lazy and indolent. It is said they have considerably deteriorated since the revolution.
Immediately after rising in the morning, coffee was prepared, and about nine we breakfasted on stewed meat, eggs, frijollis or black beans, bread, and coffee. Dinner generally consisted of four courses, two dishes to each, and included beef cut up and hashed, fowls, turkeys, and sausages, but all roasted to pieces, soaked in bad butter, and thickly strewed over with onions; frijollis, eggs, and a milk pudding followed, and wine and water to drink. In the afternoon chocolate was prepared, and in the evening, about nine o'clock, a supper similar to the dinner, but with less variety of viands. For these accommodations each individual paid a dollar per day. The whole of these messes were prepared under a shed, in a large dirty yard, which served as a kitchen, and was full of filth of all kinds. The knowledge of this, with the sight of the servants, had no tendency to quicken our appetites. The spoons, cups, and knives and forks were of silver, and two lamps hanging from the roof, cased in silver, but quite neglected, betokened a country that had once been rich in metals.
The morning after our arrival we were presented in form to the alcalde. The old man received us reclined on a mat, and apologized for not rising, as he was unwell. The only furniture in the room was an old bed and two miserable chairs. His wife and daughter made their appearance, with massy gold chains about their necks, and silver crucifixes suspended by them, but there was nothing else in character with this display.
This individual is the only officer of justice: complaints are lodged before him in writing; the offender, if the facts are notorious, is committed to prison, and the papers are referred to the capital. It rarely happens that more is heard of the business, and the incarceration of the poor wretch depends chiefly upon his interest with the alcalde or the priest.
The prison is a miserable barn, with a clay floor, to which the prisoners are chained; they are now very few in number, as crimes are rarely punished.
The temperature of this place is excessively hot. The chain of porphyritic mountains which encircle the town, while they give it a very picturesque and beautiful appearance, materially increase the heat, both by impeding the circulation of the air, and by reflecting the rays of the sun. In the month of June, 1827, the thermometer averaged 100° Fahrenheit in the shade. It is far from being healthy, and in the months of September and October the number of deaths is considerable. Fevers are the chief cause of this mortality. Small pox is rare, as vaccination is generally practised by the medical men, (if such they may be called.) There is not, in fact, a single individual in the place, who has the slightest knowledge of medicine; and if an inhabitant be taken ill, nature has to struggle not only with the disease, but with a bad climate and an ignorant quack; it need not therefore, excite surprise that she often fails.
There do not appear to be any books whatever in the place, excepting a few mass books, and these are little used. The priest, a sottish being, is generally despised, and the church greatly neglected. The inhabitants appear destitute of all religious feeling. A copy of the Scriptures is probably not to be met with in Gualan, nor are they permitted to be sold or distributed without the notes of the church. There is a very considerable degree of intolerance mixed with this neglect of every thing divine. I had with me a number of the "Ocios," (a periodical published by the Spanish emigrants in London,) which contained a paper in favour of religious toleration. I read a part of it aloud, but was immediately stopped with assurances that it could never be thus in America: they evidently disliked the principle. Yet these are republicans!
The men when dressed "a la Inglesa," of which they are very fond, are in manners and appearance the exact prototypes of English ploughmen at a country fair. A few of the women have some degree of softness and polish in their manners, but generally speaking, they are disgusting.
No provision is made for the education of the people, and the children grow up in ignorance, and oftentimes uncontrolled. Soon after the revolution a schoolmaster was sent from Guatimala, but as he could not get paid by the government, and the people had no disposition to do it, the doors of his establishment were soon closed.
The inhabitants of Gualan are composed of agents employed in the transmission of goods to and from Guatimala, Omoa, and Yzabal; mariners who convey them by the river Motagua, in their pitpans; and agriculturalists, (the Indian population,) who grow wheat and maize. There are also two potteries, which employ about twenty men in the manufacture of red tiles for the floors and roofs of the houses, and a few household utensils. The market is held daily in the plaza, but it is very irregularly supplied.
Near the town flows a river of excellent water, in which the inhabitants are constantly bathing. At the bottom of one of these hills is a very fine spring, at which the servants fill their pitchers every evening for the succeeding day. It is their general rendezvous about seven in the evening; and to watch them winding up the hill, through the orchards which lead to the fountain, each with her red pitcher on her head, and following one another in a continued line, is quite a primitive scene, and by far the most interesting sight in Gualan.
About a mile from the town are two mines, one of gold, the other of silver, which are said to belong to individuals who have not money to work them. Some attempt must however have been made, as they say they are not of the first quality, and it would be long before they could be made to pay. At length we heard of the arrival of our mules, and joyfully prepared to leave a place which possessed so few attractions.
Retrieved from "https://en.wikisource.org/w/index.php?title=Guatimala_or_the_United_Provinces_of_Central_America_in_1827-8/6&oldid=4211277"


Proliferation therapy, commonly known as Prolotherapy, is a non-surgical ligament and tendon reconstruction treatment that heals the body. Also known as regenerative injection therapy, Prolotherapy is a form of regenerative medicine that has been practiced regularly for the better half of a century and has a variety of treatment types within the therapy as a whole: Platelet Rich Plasma Prolotherapy (PRP), Biocellular Prolotherapy, and Dextrose Prolotherapy are three popular treatments that can provide unique healing.
The American Osteopathic Association of Prolotherapy Regenerative Medicine says Prolotherapy has been used as early as 500 B.C. when the Roman soldiers used hot branding irons to repair joint dislocations by fusing the torn ligaments back together. Luckily, science and medicine have advanced greatly since then and Prolotherapy no longer relies on hot branding irons and the resulting scar tissue to get the job done.
Today, Prolotherapy strengthens the ligaments and tissues in a joint by creating new collagen that helps bond torn or damaged tissue back together. The goal of Prolotherapy today is to regenerate new, healthy tissue, which strengthens a weakened joint.
Platelet Rich Plasma Prolotherapy (PRP) is one of the specialized forms of Prolotherapy offered at Optimal Health Medical Fitness.
Ideal for high functioning individuals and athletes, PRP is a non-surgical injection of platelets in a high quantity. Platelets are known for helping clot blood; however, they are also one of the first cells to arrive at the site of an injury to initiate repair. Stem cells follow closely after the platelets to immediately maximize healing. Naturally rich in connective tissue growth, platelets and stem cells work together to heal the injury or inflammation without excessive external influence, such as surgery.
Since our blood naturally has 93 percent red blood cells, 6 percent white blood cells, and 1 percent platelets, scientists created a way to enrich an injured area with more platelets that can expedite healing through the boosted quantity of platelets in the area. This is known as PRP.
Folks tend to use PRP to heal a chronic injury. It is administered via a series of injections through the skin into the ligament or tendon that must be healed. In any given session, there may be between 40 and 80 injections that provide therapeutic relief and stimulate the tissue to heal.
PRP is often used for athletes, while the more traditional Prolotherapy can be used to help treat arthritis, TMJ dysfunction, chronic back and neck pain, Fibromyalgia, whiplash, and joint injuries including those to the shoulder, wrist, elbow, knee, and ankle.
Overall, Prolotherapy and PRP are both a solution of healing medications that are injected into the injured area. In any given therapy session, the injured area will receive between 40 and 80 small, stimulating injections that send the platelets or other medicinal solution into the injured area.
Prolotherapy tends to help joints heal because it is typically a part of the body that receives very little oxygen and blood flow, which slows the natural healing process. Therefore, joints are in need of special attention to heal fully. By injecting platelets and other natural healers, the joint is given direct supply to initiate healing.
Visit Optimal Health Medical Fitness to learn more about how Prolotherapy can help relieve your pain today. Schedule a consultation with our team.


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text:
class Sensor < ActiveRecord::Base
  belongs_to :group
  has_many :states

  def latest_state
  	states.order(created_at: :desc).first
  end

  def latest_state_value
    latest_state.value
  end

  def states_dates_to_json
    result = []
    states.each do |state|
      result.push(state.created_at.strftime("%d/%b %H:%M").upcase)
    end
    puts result
    result.to_json
  end

  def states_values_to_json
    result = []
    states.each do |state|
      result.push(state.value.to_i)
    end
    puts result
    result.to_json
  end
end

redpajama_set_name: RedPajamaGithub


text:
Q: How to repeat audio track if video duration in longer than audio duration I am mixing an audio and video file using AVMutableComposition. Below is my code for that:
enter code here
AVMutableComposition* mixComposition = [AVMutableComposition composition];

 NSString *bundleDirectory = [[NSBundle mainBundle] bundlePath];

 NSString *audio_inputFilePath = [bundleDirectory stringByAppendingPathComponent:@"xyz.mp3"];//audio of 35 seconds

 NSURL    *audio_inputFileUrl = [NSURL fileURLWithPath:audio_inputFilePath];

  NSURL    *video_inputFileUrl = [NSURL fileURLWithPath:videoOutputPath];

  NSString *outputFilePath = [documentsDirectory stringByAppendingPathComponent:@"video.mp4"];//video of 60 seconds

 NSURL    *outputFileUrl = [NSURL fileURLWithPath:outputFilePath];

 if ([[NSFileManager defaultManager] fileExistsAtPath:outputFilePath])
        [[NSFileManager defaultManager] removeItemAtPath:outputFilePath error:nil];

   CMTime nextClipStartTime = kCMTimeZero;

  AVURLAsset* videoAsset = [[AVURLAsset alloc]initWithURL:video_inputFileUrl options:nil];

 CMTimeRange video_timeRange = CMTimeRangeMake(kCMTimeZero,videoAsset.duration);

  AVMutableCompositionTrack *a_compositionVideoTrack = [mixComposition addMutableTrackWithMediaType:AVMediaTypeVideo preferredTrackID:kCMPersistentTrackID_Invalid];

 [a_compositionVideoTrack insertTimeRange:video_timeRange ofTrack:[[videoAsset tracksWithMediaType:AVMediaTypeVideo] objectAtIndex:0] atTime:nextClipStartTime error:nil];

    AVURLAsset* audioAsset = [[AVURLAsset alloc]initWithURL:audio_inputFileUrl options:nil];
    enter code here
     CMTimeRange audio_timeRange = CMTimeRangeMake(kCMTimeZero, audioAsset.duration);
    enter code here
    AVMutableCompositionTrack *b_compositionAudioTrack = [mixComposition addMutableTrackWithMediaType:AVMediaTypeAudio preferredTrackID:kCMPersistentTrackID_Invalid];
    [b_compositionAudioTrack insertTimeRange:audio_timeRange ofTrack:[[audioAsset tracksWithMediaType:AVMediaTypeAudio] objectAtIndex:0] atTime:nextClipStartTime error:nil];
    enter code here
    AVAssetExportSession* _assetExport = [[AVAssetExportSession alloc] initWithAsset:mixComposition presetName:AVAssetExportPreset640x480];

Issue i am facing is my audio file duration is shorter than the video duration. So what i want to do is loop the audio file till the video ends. Like my video is is 60 seconds and audio is 35 seconds, so the audio should repeat for 25 seconds.
Can anyone help me how this can be done.

A: Solution 1: Create a new CMTimeRange and insertTimeRange in AVMutableCompositionTrack
if (videoAsset.duration>audioAsset.duration)
{
    //new time range
    CMTime duration = CMTimeMakeWithSeconds(CMTimeGetSeconds(videoAsset.duration)-CMTimeGetSeconds(audioAsset.duration), audioAsset.duration.timescale);
   if (CMTIME_IS_VALID(duration))
   {
    CMTimeRange video_timeRange2 = CMTimeRangeMake(audioAsset.duration,duration);
    //start from where left
    CMTime nextClipStartTime2 = audioAsset.duration;
    //add in AVMutableCompositionTrack
    [b_compositionVideoTrack insertTimeRange:video_timeRange2 ofTrack:[[videoAsset tracksWithMediaType:AVMediaTypeVideo] objectAtIndex:0] atTime:nextClipStartTime2 error:nil];
   }
   else
       NSLog(@"time is invalid");
}

NOTE: not tested but it should work.
EDIT:
Solution 2: Try this. Don't use my code and replace this line below with yours
[b_compositionAudioTrack insertTimeRange:audio_timeRange ofTrack:[[audioAsset tracksWithMediaType:AVMediaTypeAudio] objectAtIndex:0] atTime:kCMTimeInvalid error:nil];


Kylie Jenne,21, whose been holding the crown for the most liked photos on Instagram with a staggering 18 million likes during the birth of her baby has been dethroned by a mystery brown egg.
It could be recalled that on January 4, 2019, the photo of the egg which was shared got about 18 million likes on Sunday, January, 13, as at on Monday morning it got over 22 million likes which automatically pushed the star off chat to break records to becoming the most liked photo.
"Take that little egg." Lol.


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Death is unavoidable and everybody has to face it but only some people have the fortune of a peaceful death. When a person is sick or suffering, the hardest feeling is that of being trapped in painful circumstances. We fear for our suffering and its continuity and feel that there is no way to get rid of it, and when we don't understand how to heal our suffering, it is important to look for methods to find some peace.
At such times, it becomes difficult to love and share with others. The most beneficial thing at this time is to try and think of others with kindness and compassion to be happy and suffering-free. When a person dies with the thoughts of loving others, the mind is definitely happy and the death in such case is meaningful and peaceful.
If somebody is very sick or suffering, it is a good idea to teach him or her to meditate as per the capacity of one's own mind. Depending on the nature of the person, he or she will be able to meditate to find happiness and peace. One can find the perfect way to die, referred to as the 'self-supporting death' by Dalai Lama.
Before teaching the meditation to the person, it is important to understand the practitioner's mind. It is good to teach according to the mind's capacity. You can use your own wisdom to check the person's mind and capacity and judge the right method to teach them. It is a nice idea to present to the dying person the death process as per the tantra. You can describe the process of ending of all elements, all senses, the consciousness to the final divinity.
If a person does not have the capacity to understand because of medical conditions like mental illness or coma, there is less possibility of teaching them. However, you should try to help them get a good rebirth. Our aim should be that the person dies with a happy and positive mind, compassion and kindness. It is not necessary that the person starts believing in karma. Our goal is to take care of the person's physical body so as to be able to take good care of the mind, transforming it to positive to help the person die without any desire, fear or anger.
One should learn different methods to transform the dying's mind, to calm them down and benefit them now and in future.
If you know about the death process, it is easy for you to understand what stage of a person's consciousness it is and what elements are dissolving when he is actually dying. There are effective sounds to help the dying person's consciousness. These are some beneficial sounds, mantras, etc.
At the time of death, it is good to invite the sangha to recite the mantras in an effective way. When mantras are chanted like this, the dying person feels that nothing else is as important as the God. The person feels supported, guided and protected.
Reciting the thirty-five Buddha names is a powerful way to help the dying. People come together and chant the names to benefit the dying person. Moreover, five powerful deities mantras usually used in Jangwa are recited to help the suffering and the dying and is considered as the mantra for a peaceful death.
Another nice practice at the time of death is to place a stupa on the chest of the suffering. This stupa purifies his negative karma every time it touches the person. This can be beneficial even after the consciousness has left the body. This practice is good for small babies or those people who don't understand. The stupa is for purification and healing and can be used for non-Buddhists too. The dying person visualizes light rays coming from the stupa.
When the suffering person has stopped breathing, the first thing to do is recite the Medicine Buddha in a group. One of the ten powers is prayer and so you should pray on behalf of the dead.
The second thing to do is Amitabha po-wa which means transference of the consciousness to pure land.
Then, you can chant Sang Cho, The prayer of good deeds. This is also good for reading during the funeral.
You can then chant the Namgyelma mantra twenty-one times. This death mantra is quite powerful for purification. If this mantra is written on a cloth or paper and positioned where the wind blows it, everybody touched by the wind receives blessings and their karma gets purified.
Dalai Lama says that at the time of death, it is difficult to meditate. It is especially difficult if you did not meditate well during your life. It is not easy to hold the concentration. This means that you should do purification and accumulate merit every day of the life. You can show love and compassion, serve others, do hard work and make offerings to the Lord in your daily life. Practice good deeds to purify your negative karma and stop creating more negative karma. One experiences the fear of death due to this negative karma.
Learn the Five Powers and integrate them into your life to achieve enlightenment instantly. The Lam-rim explains the four effective ways to accumulate powerful merit in everyday life while doing normal activities.
It is a good idea to do the Medicine Buddha death mantra weekly to ensure peaceful death for oneself. Also, one can do the Medicine Buddha Sutra once every month. Pabongka Rinpoche's special text containing 100,000 Buddha names can be recited at the time of death.


text:
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/elasticsearch/bin/elasticsearch -Des.config=/elasticsearch/config/elasticsearch.yml --cluster.name=$cluster_name --node.name=$node_name --network.publish_host=$publish_host --transport.publish_port=$transport_publish_port --discovery.zen.ping.multicast.enabled=false --discovery.zen.ping.unicast.hosts=$unicast_hosts


text:
News »9/11 Families Push For Information In Saudi Arabia Lawsuit
9/11 Families Push For Unredacted Information In Saudi Arabia Lawsuit
by Staffer Declassify911
"This fight for justice is about more than just these families. It is to deter also state sponsors of terrorism" ~ Senator Richard Blumenthal (D, CT)
Senator Blumenthal joined 9/11 family member Brett Eagleson, whose father died in the Twin Towers, as part of a grassroots effort to hold Saudi Arabia accountable for their role in the September 11, 2001 terrorist attacks at a Hartford, CT news conference.
According to Eagleson, attorneys filed a subpoena for the FBI to release unredacted versions of previously published documents that they believe could provide the link between Saudi government officials and the hijackers.
Earlier this year, the KSA motion to end the 9/11 families' lawsuit to hold the Kingdom of Saudi Arabia responsible for 9/11 was rejected by a federal court judge.
Read the Fox News article


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18 days RSA Namibia and Botswana trip!
Swartberg Pass, Gamkaskloof (Die Hel), Seweweekspoort to name but a few, all within a days ride from home, we really are spoilt for choice!.
But even with all these great routes, there was something that I have been missing for a while. The reason allmost of us ride DS bikes, to ride new routes, explore new areas, see new places....ADVENTURE!.
This was one of those trips to me, and it once again reminded me why I love to ride!
Horsepower organised this trip for 3 guys that wanted to do some riding in Southern Africa and invited me to help out, but more importantly, tag along.
a 18 days, 6500km trip? how could I say no?
I'm not much of a writer, and they say a picture is worth a thousand words, so this RR will have more photos than words.
Day18 - Robertson to George.
Re: 18 days RSA Namibia and Botswana trip!
The goal for day one was just to get from George to Robertson so we could pack the support vehicle that Horspower would be driving.
I could only get away from George in the afternoon, so I just hightailed it all the way to Robertson via the N2.
On day 2 we had to get the 3 guys from the Airport in Capetown, get them some gear and get their rental bikes, so the end destination for the day was just to get out of the traffic and on the road. Citrusdal was where we made our camp for this night.
Now this is where the trip really started!
Because we wanted to get to the border ASAP and leave the riding in South Africa for the last leg of the trip, we stayed once again on tar (N7) all the way to the border at Vioolsdrif.This also gave the guys on their F800s a chance to get to know their new bikes before we crossed the border to Namibia.
We set our camp quite early at the desert oasis called "Aquacade". And decided that we had to check out the pool (and bar) first as the temperatures peaked at 39C that day.
Later that evening when the heat died down a bit, we helped ourselves to a couple of drinks, while Horsepower cooked us a meal fit for kings!
We left on day 4 as soon as they opened the gate to let us out of the camp. Crossing the border into Namibia and FINALLY onto dirt!
We took the dirt road leading roughly west from Noord Oewer, through the "Ai-Ais Richtersveld Transfrontier Park" and it is here that I was reminded about what DS riding is all about! This is why we don't stick to the tar!.
The road runs alongside the Orange river for quite some time, and the landscapes and scenery was spectacular! We did not have a long way to go for the day, so we could take it easy and enjoy our surroundings. But we had so much fun riding this road, that we barely stopped for photos at all!
After a great days riding, and not too tired, we arrived in Aus where we first made a stop at the hotel for some refreshments. From there we headed out to our accomodation for the night, which was at "Kleine Aus Vista"
The historical car at kleine Aus Vista has a story behind it. Apparently it was two guys that stole some diamonds in the restricted area and tried to make a getaway in this car, the police shot at and wounded them (bullet holes in doors) and they made it to this spot here where they died in the car. True or not, it makes a cool story.
Early morning we headed out from Aus again on our way to Sesriem.
At Helmeringhausen we heard that the road we intended to take was completely washed away after the heavy rains, so we had to take the alternative route, all the way from there to the C19 and west to Sesriem. All of it Namibian gravel Highway!
After riding for about a hour, we stopped next to the road and Horsepower made us a breakfast to kill for right there!
This really is beautifull area and a great place to ride!
After setting up camp, we headed into the park at Sossus-vlei to what they call the caves, its more a canyon though.
Day 6 saw us heading out from Sesriem and we took the highways (gravel) to Walvisbaai and from there the tar that took us to Swakopmund.
It was a beautifull day for riding, but first we had a stop at Solitaire for their famous Appel Strudel and a refuel.
On our way again I almost missed the sign for the tropic of capricorn, but we quickly stopped for the photo oppertunity.
Just before Walvisbaai we had a quick stop to take a Photo with Duin 7 in the background.
And when we got our camp set up for the night, we decided that the beach bar would be the best place to spend the rest of the afternoon.
Kom tjom , jy't my partie gemis hiervoor , ek soek hierdie RR en vinnig ook !
Day 7, and we took the road from Swakopmund, heading north past the town of Wlotzkasbaken to Hentiesbaai.
From here we headed east towards Spitskoppe where the guys had a look at all the semi-precious stones thats up for sale there.
We then headed north again, to get to our accomodation for the night, Toshari Lodge just south of " Etosha"
Day 8 was our rest day and we took a gamedrive through Etosha where we saw some beautifull scenery and got really (frighteningly) close to a couple of lions.
here are some of the shots I took there.
On day 9 we headed roughly east, on the lesser known roads,(read lots of gates) through Grootfontein to Tsumkwe lodge, wich would be our stop for the night before crossing into Botswana at the Dobe border post.
Coming into Grootfontein though, I was wishing praying for a bike shop, as my chain was nearing the end of its life. As luck would have it, even before I could search for a bike shop, we stopped right next to one at the first petrol station we pulled into.
I asked the owner of the bikeshop whether he could help me with a chain, and not only did he have the right chain, but he fitted it for me as well, at no charge. (only paid for the chain) . Anyone passing through Grootfontein would be welcome to pop into this bike shop, really friendly people!
We set up camp on the only piece of dry ground that we could find in the whole camp area. A little precurser of what was to come the next day..
After setting up camp, we got a fire going, and opened the cooler box...... the rest of the night...well... lets just say what happens in Namibia stays in Namibia. I was asked nicely by all parties involved not to tell the story of the nights happenings.
we started the day quite easily. Got to and through the Dobe Borderpost without any hassles and then the FUN started!
The night before we were warned about this little route that we want to take, but not wanting to go the long way round on tar, we decided to stick to the route and see it out.
At first it was easy going, slow 2 track but hard ground, Beautifull riding area.
After a while however the hard ground started to turn to mud and the slipping and sliding started.
At the beginning of the day, we decided that Horsepower would be riding today and I would drive the support vehicle, but after a bit of a struggle in the mud, we decided again that it would be best if Horspower drives his own bakkie (as he knows it much better than I) and I once agian would be on the bike! Happiness!!
Just as we got into the groove of riding the mud, we got drenched by a downpore! which made the mud even more difficult to manage.
Getting through this road though was not easy, the bikes managed quite good, but the bakkie (not 4x4) struggled in the mud that as I counted, claimed 3 other 4x4s (broken axles, screwed wheels ect).
In the end we managed to do the 80 odd kms of mud in about 10 hours!! IMHO if we did this trip on bikes alone, it would have taken us about 3 maybe 4 hours.
At a stage I thought we would have to stealth camp next to this road, but just as I thought about that, a massive Elephant crossed over the road,(and my logic said if theres Elephants, there would be lions as well!) and it was quickly decided that we would have to get off this road and into town.
We got out of the mud just as the sun was starting to set, and we decided that as we only have about 180km to go on tar, we would still make our end destination.
However the roads of Botswana proved us wrong. Traveling when its dark in Botswana is not advisable, I have never before seen so many Donkeys on a road.
It was so bad that when we were about 100km from Maun, we decided to look for accomodation there as it would be foolish to continue on these roads at night.
We quickly found a lodge that advertises conference centres, swimming pools ect. and booked in, but to our surprise this is what we got! hehehe!
Day 11 was once again planned as a rest day where the guys could venture into the " Okovango Delta" but as we did not make our destination the previous night, we still had to catch up on those k's. Luckliky we only had about 100 to go, so we got out of our "star rated" lodge as early as possible and headed to Maun.
For the rest of the day, myself and Horsepower relaxed next to the pool (close to the bar) while the other 3 guys took a airplane trip over the delta.
Waking up refreshed from the previous days rest, we took the road back to Namibia.
At this stage we had it with the roads and all the livestock on the roads in Botswana, so once again we took tar, about 650kms all the way to Gobabis where we made our camp for the night at a great camping spot right next to the dam.
The plan for day 13 was to take some dirt roads, that would lead us to Keetmanshoop, where we would stay the next day, but unfortunately it seemed that we got some dodgy fuel in Botswana and one of the BM 800s was acting up.
Unfortunately we had to make the decision, and we stuck to tar to Windhoek, so we could get the bike to Motorrad where they very promptly sorted it out for us.
Kudos to Windhoek Motorrad, as they had the bike ready for us again, in the time it took us to have lunch.
Unfortunately our detour through Windhoek meant that if we wanted to reach Keetmanshoop, todays total distance would be close to 750kms, so once again it was tar,all the way!
When we got close to Keetmans, we started riding into thunderstorms, but as luck would have it, everytime we got to them, it already passed over the road. In the end we didnt get a drop of rain on us, but it sure made for some SPECTACULAR riding! theres just something about riding a bike into a thunderstorm that makes one worry... just a little bit.. hehehe.
The rain also created some great sunsets and we set our camp at the quiver tree forrest just outside of Keetmanshoop.
Horsepower got some amazing photos of the lightning above the quiver trees, but Ill let him post that.
The next morning, all rested, we had a bit of time to kill so we checked out the quiver tree forrest.
Imagine this bar in high season, packed and full? can it really happen?
They also have a cheetah camp here so we went to check that out as well.
From here we headed towards Canon Rocks, where we wanted to spend the night and what a great choice this turned out.
on Day 15 we headed from Canon to Hobas and after a quick visit to the fish river canyon we headed back. Back to RSA!
We crossed the border back into RSA! and headed towards Hondeklipbaai.
There are some really great riding routes here as well, and once agian horsepower was wishing that he was on a bike instead of in the backup vehicle.
From Hondeklipbaai we headed back to the N7 and down to Clan william where we had lunch.
From there we took gravel again through Algeria towards Cederberg Oasis, where we would spend the night.
This was my first trip through Cederberg, but definitly not my last... I would love to come back to this area agian soon!
On day 17, one of the guys was scheduled to get back on the plane, so Horsepower had to leave early morning to get from Cederberg Oasis to the Airport.
2 of the 800s with us was rental bikes, and Horsepower had his Harley "fugly" with him, so we put both rental bikes on the trailer and took off fugly so that Eric could finish the trip on the Harley.
Unfortunately about 2 kms into our ride, disaster struck, and the belt from the Harleys belt drive broke.
This meant that I would have to pillion Eric to Robertson, so we decided that we would take the fastest (tar) road to Robertson from here.
In Robertson, we had a nice dinner on a boat cruise on the Breede river and spent the night at Horsepower's place for the last night.
After a 17 day trip, I was really tired, so on day 18, I once again stuck only to tar, all the way back home!
It was also my first trip to Namibia, but definitly not my last!
I will be back again to discover all the roads we missed on this trip!.
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Scion xA - п'ятидверний субкомпактний хетчбек, що продається в США з 2004-2006 рр. - як експортна модель японської Toyota Ist. Заснований на першому поколінні хетчбека Toyota Vitz, xA поділяв платформу з седаном Toyota Platz.

XA отримав незначну модернізацію протягом 2006 модельного року, до того як імпорт закінчився в грудні 2006 року. Наступник xA, Scion xD, був поставлений до дилерських центрів США, починаючи з серпня 2007 року, як модель 2008 року.

Посилання

Автомобілі Scion


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3/29: Wild Sweep Chicago Blackhawks with 4-1
The Minnesota Wild beat the Chicago Blackhawks 4-1 on Tuesday night, going 5-for-5 this season against the team that has eliminated them in the playoffs in three consecutive seasons.
The Colorado Avalanche lost to the St. Louis Blues Tuesday night as well, meaning the Wild regained a five-point lead over the Avs with five games to play. They are also within four points of the Nashville Predators for the first wild card spot.
"It's fun right now, but we know what's happened in the postseason, it's a different animal," said Erik Haula, who added another goal and assist to his career-best nine-game point streak, the longest active streak in the NHL and the longest on the Wild this season. "We're just trying to get in right now, trying to play as well as possible and take that into the playoffs."
Jarret Stoll, who went 12-for-13 in the faceoff circle, kicked off the scoring with a goal 2:37 into the first period. Marian Hossa tied it up halfway through the first, scoring short-handed on a five-minute power play that the Wild didn't muster a shot on in the final 4:27 of.
Duncan Keith received a match penalty in addition to the five-minute major for slashing Charlie Coyle across the face after a clean, hard check. Penalized for intent to injure, Coyle's nose was bleeding afterwards and Keith will likely receive a fine and suspension for it.
Spurgeon, Haula and Nino Niederreiter (empty net) all scored in the third period to seal the game. Devan Dubnyk only had to make 18 saves to improve to a league-best 11-1-1 since Feb. 28.
"Obviously, you get some confidence from it," Spurgeon told the Pioneer Press. "But at the same time, the playoffs are a different animal. But when you have that confidence going into the playoffs if you do happen to play in them, it's huge for the team. We're having fun right now, and we just have to keep it going."
[Star Tribune, Pioneer Press]
Why Haven't the Wild Been As Successful At Home This Year?
By Luke Sims - Jan 25, 2023
Can We Believe In Filip Gustavsson Yet?
By Tony Abbott - Jan 20, 2023
Building a Mount Rushmore of Kaprizov Goals
By Tony Abbott - January 19, 2023
Folks, we've made it. 100 goals from Kirill Kaprizov, with the promise of many more to come. So at this historic moment, let's take a quick look […]


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Year 826 (DCCCXXVI) was a common year starting on Monday (link will display the full calendar) of the Julian calendar, the 826th year of the Common Era (CE) and Anno Domini (AD) designations, the 826th year of the 1st millennium, the 26th year of the 9th century, and the 7th year of the 820s decade.

Events
 By place
 Britain
 King Beornwulf of Mercia invades East Anglia, but is killed in battle. He is succeeded by Ludeca, as ruler of Mercia.
 Prince Aethelwulf, a son of King Egbert of Wessex, invades Kent, and drives out its pro-Mercian king Baldred.

 Byzantine Empire
 May – Euphemius, Byzantine admiral, organises an uprising in Sicily against Emperor Michael II. He proclaims himself Emperor (with the title of basileus) in Syracuse, independent from Constantinople. In turn, Euphemius is defeated by Byzantine troops (reinforcements from the East), and is driven out to North Africa.

 Europe
 King Harald Klak of Denmark receives the Frisian county of Rüstringen, as a gift from Emperor Louis the Pious.

 By topic

 Religion
 Harald Klak accepts Christianity, and is baptized with his wife and son Godfrid at Mainz.

Births
 January 22 – Montuku, emperor of Japan (d. 858)
 November 29 – William of Septimania, Frankish nobleman (d. 850)
 Al-Mubarrad, Muslim grammarian (d. 898)
 Ansgarde of Burgundy, Frankish queen (approximate date)
 Cyril, Byzantine missionary and bishop (d. 885)
 Doseon, Korean Buddhist monk (d. 898)
 Thābit ibn Qurra, Muslim astronomer and physician (d. 901)

Deaths
 Ashot I, prince of Iberia (or 830)
 Ashot Msaker, prince of Armenia
 Bai Xingjian, Chinese poet and writer (b. 776)
 Beornwulf, king of Mercia
 Fujiwara no Fuyutsugu, Japanese general (b. 775)
 Heondeok, king of Silla (Korea)
 Li Guangyan, Chinese general (b. 761)
 Li Wu, prince of the Tang Dynasty
 Theodore the Studite, Byzantine abbot (b. 759)
 Wu Yantong, Chinese Buddhist monk
 Zhu Kerong, Chinese governor (jiedushi)

References


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The Blanco Professional range now features unheated plate dispensers with a serving height of only 29½-in. for younger kids to help themselves. Available in 14 colors and equipped with either 1 or 2 plate tubes, the versatile dispensers have a square plate tube that holds practically any plate shape and can quickly and easily adjust to accommodate almost any kind of dish. With additional plate guides, it can hold up to 4 stacks of dishes, plates or small bowls in a single tube. Retaining clips for hooded covers, hanging frames for gastronorm containers, and a refilling signal round out the benefits.
The centerpiece of Frontline's Smart Oil Management systems, EZ Oil is a convenient, safe and cost-effective way to refill fryers with fresh cooking oil. The patented EZ Oil process employs boxed oil that is held in an inverted position and plumbed to a high-capacity reservoir that holds up to 350 lb. of shortening. An integral pump moves oil at the touch of a button from the reservoir to awaiting fryer vats. The system improves workplace safety as hands and floors remain clean and grease-free.
Although it looks hand-crafted, Mosaic dinnerware is tough enough to stand up to everyday use in a professional kitchen environment. Available on a selection of plates and bowls to showcase contemporary and traditional menus, Mosaic easily incorporates into an existing tableware setting. Choose from 5 colors, including the subtle tones of gray and taupe or the bolder colors of blue, coral and green, to lift understated or white tableware by adding a splash of brightness. The reactive glazes add variance in effect and color, so every piece retains a unique character.
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text:
The mission of the Baychester Middle School Theatre Department is to be an all-inclusive program that inspires its participants and audiences to appreciate and understand the arts through quality live productions and educational opportunities.
Studies have shown that students with sustained involvement in theatre show substantial improvement in reading-proficiency, self-concept and motivation, and higher levels of empathy for others. At Baychester, we have witnessed first-hand the confidence that is built, the friendships that are formed, and the passions that are developed within our program.
2021 Concert
We entered the school year still under strict COVID-19 precautions. For this reason, we opted to perform our 8th annual musical virtually. "This Is Us: A 10 Year Celebration of Joy, Pursuing Dreams, and Being True to Ourselves" was a cabaret that included songs from all of our favorite Broadway musicals. By inviting past alumni to participate with our current students, it was the perfect way to celebrate Baychester's tenth year as a school!
2021: Virtual Performance
Legally Blonde
Our 7th annual musical was "Legally Blonde."
Due to COVID-19 school closures, we never got to present the final production to a live audience.
Despite our disappointment, we rallied together to record a virtual concert, which was shared with our school and families. This production will still go down in Baychester history as another excellent piece of musical theatre. The cast was incredible, the crew worked very hard, and we are so proud of what we accomplished.
"Theatre doesn't last. Only in people's memories and in their hearts. That's the beauty and sadness of it. But that's life. Beauty and sadness. And that is why theatre is life."
2020: Legally Blonde
2019: The Lion King
2018: Hairspray
2017: Grease
2016: Shrek the Musical
2015: The Little Mermaid
2014: The Wiz
Black Box Shows
The Baychester Black Box theatre was conceived and implemented in 2018. Its goal is to provide students a non-musical theatre experience that exposes them to a wide range of writing and acting styles, as well as a vast array of subject matters.
2019: Arsenic & Old Lace
2018: A Raisin In the Sun
Mr. Andrulonis, Founding Theatre Teacher
Mr. Andrulonis is originally from Oklahoma, where he earned his Bachelor's degree in Theatre Education and his Master's degree in Secondary Education. After teaching in Oklahoma for 4 years, he moved to NYC and became the founding theatre teacher at Baychester Middle School. Over the course of his 8 years at Baychester, Mr. Andrulonis wrote and developed curriculum for the theatre courses, transformed the classroom space into a blackbox theatre, and directed 8 school musicals along with Mrs. Salemi. He also raised approximately $50,000 for theatre projects.


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Connor Downs '20 is Spending his Summer Investigating Homicides Archives
July 26, 2018 by Rebecca Goldfine
Connor Downs at work in the state police office
In television and books, the search for the killer often provides the drama. But in his summer internship, Connor Downs '20 is learning that a lot of analysis and interpretation goes into deciding if there has been a homicide at all.
Downs is interning this summer with the Massachusetts State Police Homicide Investigations unit, supported by a funded internship grant from Bowdoin.
Since the end of May, the Massachusetts Homicide Investigations unit—a team made up of thirteen detectives, one lieutenant, and one sergeant—have investigated seventy-five unattended deaths. Downs has assisted on thirty-five of them.
While that number might seem high to some, Downs notes that it's actually down from previous years. "They had been expecting more homicides based on what has happened in past years," he explained.
The state homicide team, which is based in the city of New Bedford, is obligated to investigate every unexpected death that occurs in Bristol County, including traffic accidents, suicides, and drug overdoses. "What my department does is rule out the possibility of homicide with any unattended death," Downs said. Of the thirty-five cases he's participated in, two are active murder cases. One required a police dog to sniff out the discarded murder weapon in a patch of woods.
Downs' internship is funded by a grant from Bowdoin's Peter Buck Internship Fund. This year, seventy-eight Bowdoin students were awarded these competitive grants, which enable them to pursue unpaid summer internships or projects. Had it not been for his grant, Downs, who lives in Foxboro, Mass., said, "I would have gone back to waiting tables at the Olive Garden."
Instead, he's shadowing one of the homicide unit detectives, and being called to scenes of possible crimes — which often entails driving to sites in the middle of the night. He's also spent time with four different police bureaus: the forensic, ballistic, marine, and mounted units. "I've gotten a good understanding of how the state police functions as a whole, as well as all the experience I've gotten on crime scenes," Downs said.
On top of that, he's sharpening his observational and analytical skills. Downs describes the deliberate nature of the state police's examination, focusing on possible explanations for each detail in the evidence one by one before moving on to the next. One of the detectives showing him the ropes is an expert in criminal psychology. "He's been giving me tips about looking for emotion at the crime scene," such as signs the suspect tried to de-personalize the victim, Downs said.
While the stories he brings home at night sometimes alarm his mother, Downs said he's been having a "great, hands-on" summer. Though, he does concede it took him a few days to get used to the job. "The first few scenes I went to shook me up, but the more you go to the better adjusted you become," he said.
Most helpfully, the experience has cemented his desire to pursue a career solving crimes, he said, although he's not sure yet if he wants to be a homicide detective, a district attorney, or perhaps an F.B.I. agent. A history and psychology major, Downs said he'll apply for another funded internship to work for the F.B.I. or a D.A.'s office next summer.
Career Planning | Student Life
Students Show Solidarity With 'Take Back the Night'
What's Up With the Political Divide? A Community Conversation
Bowdoin Celebrates Yellow Shirt Day
Sarah and James Bowdoin Day 2018
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