text:
Raccoon rescued after getting stuck frozen to rail track in -12C temperatures
Oliver Browning
Railroad workers rescued a stricken male raccoon after it became frozen to one side of the tracks - by its private parts.
Worker Neil Mullis, 35, was out on the job in Cochran, Georgia, when he came across the animal in -12C temperatures.
The raccoon is seen straddling one side of the track before being successfully removed using warm water and a shovel.
"After about five minutes of slowly working him loose, he was free. He jumped off the rail and ran in the woods never looking back," Mullis said of the rescue.
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Britney Spears thinks her fans calling the cops 'was uncalled for'
Britney Spears insists people who called police to carry out a welfare check on her after she deactivated her Instagram account are not her "real fans".
Zachary Levi's dad dies
Zachary Levi's father has died after battling cancer
Former fast-food employee who began investing at 19 says she will be a millionaire before she's 40
By the age of 25, she had $100,000 saved
When royals are spotted off-duty from Princess Kate to Meghan Markle
Fans are used to seeing members of the royal family on official engagements, looking immaculate as they carry out their duties. But their lives aren't only spent on royal outings, and the Princess of Wales and Meghan Markle are among the royals to have been spotted off-duty, enjoying family days out or going incognito as they pop to the shops. Fans love seeing their more casual looks and surprise appearances, which are a far cry to their normal working days. See the best photos of Kate, Meghan a
'Happiness can be ignited by making something small infinite': what makes me happy now
If the last few years have taught us anything, writes Robert Dessaix, it's that happiness and sadness, even misery can go together
Amber Rose vows to stay single and never have sex again
IN CASE YOU MISSED IT: Eddie Murphy insists he never 'made fun' of Michael Jackson
The comedian imitated the late King of Pop during his days on Saturday Night Live in the early '80s. But during an appearance on Jimmy Kimmel Live! on Wednesday, Eddie argued that his impersonation was always "funny". "If you look at the stuff I did on Michael, it was never mean-spirited. It was always funny stuff, because I knew him. I never made fun of him." "But I wasn't making fun of him. He was Michael and I was doing funny Michael." Eddie also claimed Michael's real speaking voice was lower than what he used in public.
William Shatner and wife reunite three years after divorce
William Shatner and Elizabeth Martin have reconciled three years after their divorce. The Star Trek icon appeared with his ex-wife at the Living Legends of Aviation Awards event in Beverly Hills on Friday – with the ceremony marking the first time the pair have been photographed on the red carpet together since announcing their split in 2019. During an interview with The Mirror, William simply stated, "My wife… she is the zest of life. She brings the flavour." It remains unclear when the actor a
Lisa Marie Presley's unconventional mother-of-the-bride dress at Riley Keough's wedding revealed
Riley Keough is just days away from celebrating her eighth wedding anniversary with her husband Ben Smith-Peterson, which could see the star reminisce with her special wedding photos. The Runaways star and the stuntman met on the set of Mad Max: Fury Road and went on to get married in an intimate candlelit ceremony in Napa Valley on 4 February 2015 in front of A-list guests such as Kristen Stewart and Dakota Johnson. But two important wedding guests who will likely be on her mind are her late mo
Gwyneth Paltrow admits to wearing her eye masks while in meetings


Home School Online: Lapbooking samples.
Have you ever made a lapbook? Lapbooking is a lot of fun. We have made them on and off since my son was in preschool. It is a fun way to sharing what you have learned. I need to make one with my daughter and my youngest son. I love how easy it is to make them. Choose a theme or a book, make mini books from different websites that share free templets and even take pictures. I like to take a group of pictures and put them on a word doc and print them out on paper, instead of actual pictures. I can make them smaller and it is cheaper that way. You can make a vocabulary booklets, spelling booklets, math booklets, map booklets the list is endless. Here are some pictures of some lapbooks we have done. One is about apples and one is about the book Swiss Family Robinson.


It's a weird thing with Modena. They signed that American OH Abbott who has yet to show up during any match, now the story with Eric and they'll have to finish the season with two MBs of which one (Heyrman) allegedly has knee problems.
Symone Abbott went back to the USA.. Modena couldn't use her and Calloni's injury made them look for a new MB. Her contract has been useless, and now also Eric won't come!
Edited once, last by Diesse14 ( Mar 8th 2018 ).
I think they can't signed players who played in Seria A this season.
Berenika Tomsia in Chemik Police (medical transfer for Zaroślińska).


Few things are finer in life than a classic dry gin served in a dimly lit rail car. Our London-style gin meets at the crossroads of alchemy and botany with the finest juniper, cardamom, citrus and spice. From the Grand Trunk to the Transcontinental, creating the consummate gin is a journey. May your journey be destined for distinction.
BOTANICALS: Juniper, Cardamom, Coriander, Star Anise, Orris Root, & Fresh Orange Peel. All botanicals sourced from Germack Co., located in Detroit's historic Eastern Market.
TASTE: Clean fresh juniper and orange scent with spiced, dry citrus finish.


You can download 14 Exciting Parts Of Attending Modern Bedroom White in your computer by clicking resolution image in Download by size:. Don't forget to rate and comment if you interest with this wallpaper.
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TROY — The Troy Foundation established the Apple Grant program to provide teacher of kindergarten through high school students an opportunity to enhance the educational experience of their students. Apple Grants are offered to teachers in the Troy City School District, St. Patrick School and Troy Christians Schools.
Apple Grant applications are accepted one-time each year, with the annual deadline of mid-May. Applications may be for up to $1,000, the total project budget cannot exceed $1,000. The next deadline will be May 2019. For more information on the Apple Grant process please visit www.thetroyfoundation.org or feel free to call The Troy Foundation at 339-8935.


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Add a tower or mat to your Allegro 2.
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A package of four accessories.
Recommended with the use of Return Stoppers.
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Samoeng Loop from The 700 Year Anniversary Stadium, Counter Clockwise. Featuring the 7 Spires Climb.
Next comes the interesting part, the 7 Spires climb, hitting 16% in the switchbacks on legs that have just had enough time to stiffen up from the descent!
Water is available at Poeng Yaeng then again after the descent following the 7 spires. For Emergencies you can turn into Samoeng Village (a further descent) or ask for help at the police box.


They may look plainer than before, but they taste even better!
If you only ever bake one gluten free cake, it should be this one: it's easy and delicious and everyone (not just vegan, coeliac, sugar free people) will love it. This recipe has truly evolved: first, there was agave almond slice and its cousin, chocolate agave almond slice. Then it went gluten free and more nutty and became frangipane fingers, which has been very popular since it was first posted back in March 2012. The main difference to this latest version is that it uses less ingredients (ie: just agave rather than agave and xylitol). There are also a couple of other tweaks, like using Dove's Farm Gluten Free Brown Bread Flour rather than buckwheat flour to make it easier to source ingredients, and adding a little less baking powder to get that slightly more dense frangipane texture.I would have decorated the top with flaked, blanched or chopped almonds like last time but I didn't have any, nor did I have time to make any; I have added them to the recipe here anyway.
I added less baking powder to make the texture denser and less spongy, but the agave ensures it is still light. The brownish colour is from grinding my own almonds and leaving the skins on.
In another bowl mix the dry ingredients.
Add the wet to the dry and beat together for about 1 minutes (by hand will do). Should be dropping consistency.
Put into a prepared tin or mould, about 1.5 -2cm deep, scatter top with flaked almonds and bake for 20 minutes or so (do the skewer test) until cooked through and golden brown on top.
Serve warm or cold, alone or with fruit/ cream/ icecream.
Served with a scoop of Swedish Glace (vegan icecream) and some berries, it makes a yummy dessert.
Thanks for your comment. I always read your recipes too; love all the breads, cakes and jams you make, and also when you write about what it's like where you live in the mountains. If you try this cake you could use buckwheat flour instead of the gluten free blend. Maybe bajri (millet) flour would also work?
looks so tempting , simple yet flavorful.


text:
Israel court suspends plan to deport African migrants
People from Eritrea and Sudan make up a significant number of migrants in Israel
Israel's supreme court has suspended a controversial government plan to deport tens of thousands of African migrants who entered the country illegally.
It gave the state until 26 March to provide more information on the plan.
In January, the migrants – mostly from Eritrea and Sudan – were offered $3,500 (£2,510) and a plane ticket to leave Israel voluntarily by the end of March.
Otherwise, they faced detention and subsequent expulsion. The UN refugee agency criticised the plan.
The Israeli court issued its ruling on Thursday, following a legal challenge by a group of migrants from Eritrea and Sudan.
The government now cannot deport African migrants until the court receives additional information.
Israeli authorities say there are currently more than 40,000 African migrants in Israel, describing them as "infiltrators".
Most of them entered from Egypt several years ago, before a new fence was built along the desert border. This has almost ended illegal crossings.
Only single young men are affected by the government plan.
It exempts children, women, parents of dependent minors and victims of slavery and human trafficking.
The authorities have said the migrants' return will be humane and "voluntary".
Israeli Prime Minister Benjamin Netanyahu has claimed that an unchecked influx of African migrants could threaten Israel's Jewish character.

redpajama_set_name: RedPajamaCommonCrawl


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There is one summary for H.R.4549. Bill summaries are authored by CRS.
International Nonproliferation and Disarmament Act of 1992 - Amends the Foreign Assistance Act of 1961 to authorize the President to use funds to support efforts to halt the proliferation of weapons of mass destruction, conventional weapons, and ballistic missile technologies and systems that are capable of delivering conventional, nuclear, biological, or chemical warheads. Requires such authority to be used to enhance compliance with and verification of existing arms control and disarmament agreements and nonproliferation regimes and to promote additional agreements and regimes.
Permits assistance to a foreign country under this Act only if the President certifies to the Congress that the country is committed to: (1) making a substantial investment for nonproliferation activities; (2) maintaining a defense posture that does not exceed its legitimate security requirements; (3) facilitating international verification of nonproliferation activities and weapons dismantlement or destruction; and (4) observing human rights.
Provides for the reprogramming of appropriated funds to make funding available to carry out this Act.


text:
80. PAUL EGGERT. 2009. SECURING THE PAST: CONSERVATION IN ART, ARCHITECTURE AND LITERATURE. NEW YORK: CAMBRIDGE UNIVERSITY PRESS.
by Helena Carneiro
Pedro Tiago Ferreira
[Versão em português / Portuguese translation]
Paul Eggert sums up Securing the Past by stating that it "is the first book to bring the arts of restoration together to examine their linked, underlying philosophies." (p. 9) The arts of restoration to which Eggert alludes encompass what is done in the field of Art lato sensu, which includes, as the subtitle of Securing the Past makes clear, Architecture and Literature, besides Art stricto sensu. I shall use the term "Art," in this review, in its restricted sense to mean painting and sculpture, as these are the art forms with which Eggert is mainly concerned.
According to Eggert, there is a connection between conservation in Art, Architecture and Literature which most of the authors who deal in textual and literary criticism, and who make up the intended target of Eggert's work, have not fully noticed so far. As Eggert argues, there are certain shared
problems, in both practice and theory, of what is involved when professional practitioners try to secure the past, whether in tangible three-dimensional form in museums, art galleries and historic houses or in the recovery by scholarly editors of the corrupted texts of literary works and historical documents from the past. (p. ix)
The book's subject matter is thus threefold: to call the textual and literary critics' attention to the problems of conservation and restoration shared by the fields of Art, Architecture and Literature; to expound the nature of these problems; and to propose some solutions.
As the number of problems which Eggert raises as topics of his analysis is too big for a satisfactory examination of all of them within the scope of this review, I would like to focus my attention on the topic which, in my opinion, is the main thesis of Eggert's book, and of which it can be said that all other topics covered by Securing the Past are derivative: as soon as any act of conservation is performed, it becomes part of the history of the object in question, be it a painting, a sculpture, a building or a text. This is the reason which drives Eggert to conclude that there is a relationship between conservation in Art, Architecture and Literature, and which makes clear that securing the past is not a matter of retrieving the original, unimpaired creation of an artist or of a writer, that starts to be lost as soon as the passage of time performs its labour of decay. As the arguments offered by Eggert try to make clear, acts of conservation aimed at reducing the effects of decay are not apt to reveal the state of the work as its author intended it at the time of its completion. Both decay and the acts of conservation aimed at staving off the former's effects render any attempt at revealing the state of a work upon completion a very difficult task, which becomes more and more difficult as time passes and further acts of conservation are performed, until there comes a time in which the original state of the work is irretrievably lost. To secure the past is therefore an activity whose main goal is to keep paintings, buildings or texts accessible to the public. According to Eggert, it is this access which is to be conserved, not the work's original condition.
This hypothesis goes against a long tradition which holds that the purposes of conservation and restoration are not simply to allow to the public access to a given work, be it artistic, architectural or literary, but to uphold access to the work as the author intended it, when possible, and, when not, to attempt to present the author's creation as faithfully as possible. I believe it is worthwhile to quote in full the passage in which Eggert states this position, which he strives to refute throughout the book:
(…) in editorial practice it is normally seen as essential, as far as possible, that the editor identify the parties responsible for the changes between versions so that informed decisions between competing readings can be made. The techniques of physical bibliography help the editor to reconstruct the history of the production of the work in printed form. In a somewhat parallel way restorers seek evidence of pentimenti (revisions) of earlier versions beneath the painted surface, and analyse the build-up of the layers of paint from the so-called ground coat outwards. Attribution is then more soundly based, and catalogues raisonnés, delimiting the boundaries of the artist's oeuvre, become possible. These parallel the descriptive bibliographies employed by editors. If curators and conservators are archaeologists of the image – if they can make the surface articulate the painting's history – then editors are archaeologists of the printed or written word, of its history of writing and production.
In both areas, it has traditionally been felt that the primary upshot of this considerable effort is to bring forth to the viewing or reading public a restored painting or a reading text of the literary work – the real thing, or as close to it as we can get. Just as, it is believed, accumulations of dirt and varnish should be removed to reveal the painting as it left the artist's hand, so ought editors to aim at recovering the text that the author intended. Through the glass darkly, we can – with conservators' and editors' help – espy the thing itself: the work of literary or painterly art. (p. 16)
It is noticeable that Eggert's theory does not concern itself primarily with method, as Eggert does not purport to advise conservators and editors on how to perform their jobs, but with the legitimacy enjoyed by these two types of curators to do what they cannot avoid doing, i.e. to modify someone else's creation. The notion that it is immoral to tamper with texts, sculptures or paintings seems to be beyond all dispute, although as far as buildings are concerned tradition only protects constructions deemed as "historic": modifications made to one's own house or other private buildings are not felt as moral illegitimate acts toward the architect's intellectual creation. Since it is necessary, however, for third parties to physically intervene over paintings, sculptures and buildings in order to prevent the effects of decay and the object's ultimate destruction, and for editors to intellectually intervene over texts in order to prevent the extinction of all of its copies, it is inevitable that the end result of such interventions is a thing, corporeal in the case of buildings, sculptures and paintings, and incorporeal in the case of texts, somewhat different from the product originally offered by its intellectual creator, the author. This is, in fact, an important difference between texts and the plastic arts which Eggert does not fail to notice:
(…) we need to differentiate the building's temporal continuity as physical 'document' from the 'textual' meanings it acquires and their reorganisation by curators. This literary-editorial metaphor only fails insofar as curatorial readings of buildings invariably leave physical traces. The interpretations require adaptations. The scholarly editor, too, will almost certainly change the text of the basic document that serves as copy-text, and by definition the edition will be a new book. But the originating documents from which the edition derives will be physically unaffected. (p. 37)
This means that it is useless to argue that conservation and textual criticism are activities aimed at restoring a work of art's, or a text's, original condition, and therefore it is advisable, for reasons of intellectual honesty, to admit unreservedly that securing the past through conservation and textual criticism is something that must be done in order to maintain the work in question accessible to those who wish to view it, read it or analyse it, openly recognizing that the work so curated is no longer the same work that was created by its author.
This does not mean, of course, that for Eggert conservators and editors are free to do what they please with someone else's creation. It may be necessary, for safety reasons, to construct a load-bearing wall in an ancient edifice in order to prevent it from collapsing, thus maintaining the structure open for public visitation. This act of conservation blatantly transforms the architect's original creation, but can hardly be deemed as arbitrary and therefore illegitimate; this kind of transformation is, in fact, vital to keep the building in existence, since it would collapse without it. Something analogous can be said regarding texts, which may be truncated due to the fact that all copies of certain of its passages have been lost, and thus the editor has to supply some of what is missing in order to present an intelligible piece of writing, as it happens, for example, in the Diels-Kranz edition of The Fragments of the Presocratics (1), where the editors supply text of their own making between brackets in order to render otherwise unintelligible portions of text into intelligible passages for the reader. Analogous operations may be necessary in order to preserve paintings and sculptures. It is, however, inadmissible to alter the configuration of a historic building for reasons beyond safety, or for a conservator or a textual critic to wilfully change a painting or a text according to their own personal taste. All modifications to a work of Art, Architecture or Literature are certainly bound to its author's intentions when they are discernible and can be respected without the occurrence of safety hazards. What is important, according to Eggert's position, is that respect for the author's original creation be not considered as unassailable dogma, as the traditional view seems to consider it. The author's or artist's intention is an important factor to be taken into account in textual criticism and restoration, not the only factor.
Eggert's solution for the legitimacy problem which the traditional view raises is thus to acknowledge that a work's history starts with its author's creation and then continues with its curators' interventions. The latter's acts of conservation are, therefore, as much a part of the work's history as its author's original creation, as the work would not exist and endure for a considerable period of time without both these types of agency. There is no legitimacy question because modifications to a work's original condition are unavoidable, and full and complete restoration according to the artist's or author's intentions is all but impossible.
Eggert's ideas are original and offer a better understanding of what is done in conservation and textual criticism, besides the fact that they call the experts' attention to the fact that both areas are much closer than one might suspect at first glance. Eggert does not employ too many technical terms as he does not delve too much into questions of methodology, except by way of example, which makes the book accessible to a wider public. It is a good read both for experts and for novices, as well as for people whose work does not bear directly in conservation or textual criticism, but may be in the vicinity.
Nevertheless, I would still like to point out that Eggert lost the opportunity to make an argument which seems to me the logical conclusion of the ideas in this book: if both conservators' and textual critics' acts become part of a work's history, as necessary to its existence throughout time as its author's intellectually creative acts, and if those curatorship acts are, in turn, creations whose responsibility falls on their agent, then the conservators and textual critics are co-authors of the work so curated. This co-authorship is bound to the original creation and therefore is not entirely free, not in the sense in which the term is used when describing the original author's agency, but curatorship acts are most decidedly intellectual creations. As the modifications made to buildings for safety reasons add something which did not exist before, so the editors' acts which are analogous to those made by Diels and Kranz modify the text as it was created by the original author. The point that these acts are not illegitimate has been taken, but the further point that these acts are autonomous intellectual creations by conservators and textual critics has equally to be made, and Eggert should have made it, as it is the natural conclusion to the argument that a work's history, its life, is made up of a series of acts from its creation to its eventual demise.
(1) DIELS, Hermann; KRANZ, Walther. 1960. Die Fragmente der Vorsokratiker (bilingual edition in Greek and German). Berlin: Weidmannsche Verlagsbuchhandlung.
English edition: Freeman, Kathleen. 1983 [1948]. Ancilla to Pre-Socratic Philosophers: A Complete Translation of the Fragments in Diels, Fragmente der Vorsokratiker. Cambridge: Harvard University Press.


My best friend Chelsea posted a funny picture a few nights ago: a cereal box with a spoon in it captioned "no milk, college style living". We really are one in the same!
My work schedule has been pretty intense and my food regimen has been suffering, to say the least. No, that doesn't mean that I've been eating fast food and chips every day- but it has put me in what I call a "convenience rut". During the week,I eat what I have at home and what is quick, period.
For example, the past three mornings my breakfast has consisted of Kashi cereal and frozen mango chunks doused in almond milk with a side of coffee to go. It's good. It works. I'll have more time soon, I swear.
In any case, I was craving something different this morning, and I created what I would like to call a perfect smoothie combination. Three claps for me. I even used a few new product purchases! Chobani 0% Pear & Almond Breeze- Unsweetened Vanilla Coconut flavor.
The name leaves so much to the imagination… doesn't it?
Throw all of the ingredients into your blender except the coconut chips and blend until you reach desired consistency. Top with the coconut chips- I bought these at Trader Joe's based on a recommendation from my friend Emily– and I fell in love. They are awesome! If you don't have these available, try adding some chopped walnuts for crunch.
Whether you are in a "convenience rut" or not- is there something in your diet that you are currently eating every single day? Let me know in the comments below!


Our win at Buckmore Park for Round 11, scored us maximum points and as a consequence means we've wrapped up the F6 Championship with one round still to go. We can now have a 'relaxed' last race at Bayford Meadows, knowing it's in the bag. It's a huge relief going into the last round without the pressure of the championship on your mind. My aim is to try and win the last round.


I watched the man as he set about pruning his rose bush. It was a severe cut and nearly ninety percent of the plant was removed. He said that next summer he would have a few beautiful roses, instead of dozens of regular ones.
Recent events have had me rethinking about how to approach what I do. The blog, for instance, has begun to get out of hand. There's too much here—some categories may go altogether. Then, all that stuff I carry about. Various past posts have been fermenting in my mind and perhaps it is time for some serious pruning.
Backpacks, laptops, bridge camera, bags and stuff is gone.
I find it hard to let go of things and somehow have ended up with a collection of computers, cameras, backpacks and other items. You can only really wear one backpack at a time.
There are all kinds of blog posts out there about what to carry and what to leave behind. Less is better, I'm not too bad at that—it's what I've left behind and not using.
Even as my fingers dance lightly over the keyboard, my stomach is churning at the thought of dumping so much (I will keep my Lenovo laptop). The big PC will stay, but there's so much that is rarely used and just has to go—decisions, decisions.
The hardest bit was getting rid of my Leica/Lumix bridge camera. For my main camera I now use a DMC FX-10 (I have two, one is a spare). This one is the camera I used in Spain to cover the 2015 San Fermin etc.
Traveling around and writing about it will change. In recent tests, some of my posts were done on a tablet. Photo's can be prepared by using portable software on a flash drive at an Internet Café or hostel's computer. I can cut back on the weight I carry by not using a laptop. I even posted one entry from my smartphone (images processed at home), text and image insertion was from my Samsung Galaxy i9100. Since I plan to only post around one per month, then doing text work on a tablet is okay.
My last trip I had around 18-19 lbs on my back (my doctor says I'm only supposed to carry 10). By implementing my cutbacks, I have a lot less.
Camera, tablet, chargers and cables etc.
One change, wear one, wash one.
My Jeep backpack, with all that in weighs 8.25 lbs. With water bottle and some sundry items, my total is around 9.5 lbs. I will add two more compression straps to the Jeep, at the lower part. That'll bring my depth to around 18cm.
A Belkin bag (top left) or a Tom Bihn Western Flyer. The Western Flyer is the one I really want, but by the time I pay full price and shipping ($500) from Tom Bihn, I get fined up to 5 times the amount on top of that—for being American and daring to order anything from the USA (already been hit on that once and won't do it again).
Dec 11, 2015—Bought a Samsonite Spark which has tons of room inside and quite a bit of spare outside, so shouldn't have any trouble on budget airlines.
Try it some time. Most people carry more than they really need.
This way I am under size and weight for budget airlines.
I can carry my pack onto buses and trains easily.
Plus, I have two extra sections of the Jeep that are not used when on major trips between places.
Carrying an extra day pack is no longer a problem, this Jeep is one.—and tough to boot.
If I need bits of extra clothing, I can buy them where I stay. Like flip-flops—I can pick up a pair for 2-3 Euro in one of those cheapie shops or a flea market.
A trip out with this was a lot easier and I got wet. Had to Granger the whole Jeep so it's more waterproof. I got the Samsonite one because there are times I would not need a backpack and may even use it for my travel bag instead of the Jeep (undecided at the moment).
PS: I still haven't had the heart to lose the bridge camera.
Seems like I found here what I was looking for! These bags must be great for travels!!
Thanks for the travel bag ideas. I might have to look into these for my husband.
I try to travel light, but as you mention, the laptop can be a problem. But it's rare I don't take it with me. So much of my work is on it. I can do most things on my iPad, but I prefer the bigger screen. But for family vacations, I try to leave it behind. I shouldn't be on it then anyway!
Hi Pete, see you're both enjoying stuff. I cut my laptop cable down to about 8 inches to fit in the little bag I have on my first trip and haven't regretted it.
Hey Ted, packing light is the way to go. My wife and I live out of two carry on size packs. It's so handy to just have one bag that you can keep with you at all times. Especially if you are traveling on a budget.
When I first went backpacking in the 90's my pack was full of clothes and books. Now the heaviest things I have are electronics and cables. It can be hard deciding what to leave at home. Personally, I couldn't be without my laptop and a smartphone. If I have these two things I can get by without much else.
Also, not sure how extreme you want to go but before I left I took all my power cords and adaptors and cut the cables down to 12 inches long and then re-attached the ends. I think I saved about half a pound in cable weight… lol.
Always a good idea to start light. Packs tend to gobble items and grow as the months go by.


Having forced Thousandbreaths into the material plane, the party were able to teleport home. Only to hear news that Torwatch was under siege from Ice Giants. So Cassandra teleported everyone there to free her home. She found Pharasma's Chantry and the Barracks destroyed – and a group of giants taking bets with each other about who could strike the tower with thrown rocks.
The giants discovered that Cassandra's aim with a fireball was much better than theirs. After the Giants were beaten, the group investigated the remains of a huge ice gravestone that had appeared a short distance away. It had shattered when they dragged Thousandbreaths into the material – it was clearly linked to the frozen boneyard that was home to the four armed ice giant.
Then it was onto to an undeveloped area south of Leveton where a strange growth of spiny bushes had sprung up. They discovered that it was tended by more giants – larger this time, with tusks and a third arm. Again, the battle was soon over, and the growth started shrinking as soon as the giants were defeated.
Then back to Horcroft to recuperate ….


text:
Posted on April 6, 2021 April 6, 2021 by Matt Williams
Lunar Gateway Will Maintain its Orbit With a 6 kW ion Engine
When NASA sends astronauts back to the Moon as part of the Artemis Program, they will be taking the long view. Rather than being another "footprints and flags" program, the goal is to create a lasting infrastructure that will ensure a "sustained program of lunar exploration." A major element in this plan is the Lunar Gateway, an orbital habitat that astronauts will use to venture to and from the surface.
The first step in establishing the Gateway is the deployment of two critical modules – the Habitation and Logistics Outpost (HALO) and the Power and Propulsion Element (PPE). According to a recent update, NASA (along with Maxar Technologies and Busek Co.) recently completed a hot-fire test of the PPE propulsion subsystem – the first of many that will ensure that the PPE and HALO will be ready for launch by 2024.
This propulsion subsystem is a cluster of Hall effect thrusters (aka. ion engine), which use electromagnetic fields to accelerate ionized gas through engine nozzles to generate thrust. In this case, the engine system is a 6-kilowatt (kW) solar electric propulsion (SEP) concept that incorporates Maxar-built electronics and a xenon feed system with four Busek-built BHT-600 thrusters.
This system is 30% more powerful than any previously built and flown by Maxar or Busek and will be combined with higher-power Hall effect thrusters to complete the PPE's 50 kW SEP system. Said Robert Curbeam, the Senior Vice President of Space Capture at Maxar Technologies:
"Busek's BHT-6000 electric thrusters offer high-power capabilities at a competitive price point and are a great fit for both our near-Earth and deep space programs. The SEP systems we are evolving for PPE are a fantastic example of innovative commercial technology with great flight heritage being leveraged for NASA programs. We continue to make steady progress on the Power and Propulsion Element, with the next major milestone being the spacecraft Preliminary Design Review, which is targeted for later this year."
The hot-fire test was funded by NASA's Space Technology Mission Directorate through their Tipping Point program. Every year, the STMD issues grants to commercial partners to foster the development of technologies that will advance commercial space capabilities and benefit future NASA missions.
In 2018, Maxar Technologies – formerly Space Systems/Loral (SSL) – was selected through Tipping Point to develop the power processing unit (PPU) that would power the 6 kW Hall thruster. Busek Co. is a long-time NASA partner renowned for its Hall effect satellite thruster technology. Past contributions include mini-electrospray thrusters for CubeSats and the ST7-DRS thruster system used by the LISA Pathfinder mission.
This recent test consisted of powering the system up and down several times and running various flight-like scenarios, the purpose of which was to demonstrate if the system for operations around the Moon. The multi-week test was the first time the hardware developed by Maxar and Busek operated as a fully integrated system and served to validate the dual-mode operations of the SEP up to power levels of 6 kW and 600 volts.
Said Mike Barrett, Power and Propulsion Element manager at NASA's Glenn Research Center:
"This is an exciting first step toward proving the PPE's propulsion system will meet Gateway's requirements. These thrusters will be critical in delivering the first elements of Gateway to lunar orbit and will help us create a dynamic exploration platform over Gateway's 15-year lifespan."
Once it is fully assembled and integrated, the PPE will be the most powerful electric propulsion spacecraft ever flown and will maneuver the Gateway around the Moon. Paired with a reusable lunar lander, the Gateway will open up more of the lunar surface for exploration than ever before. Currently, the PPE and HALO are scheduled to launch together in 2024 aboard a Falcon Heavy in preparation for the Artemis III mission.
Beyond HALO, other modules will be added over time, like the European System Providing Refueling, Infrastructure and Telecommunications (ESPRIT), and the International Habitation Module (I-HAB). These modules are being developed by the ESA and JAXA in collaboration with French aerospace developer Thales Alenia Space – with additional contributions by NASA, and the Canadian Space Agency (CSA).
ESA has finalized a contract with Thales Alenia Space to build the ESPRIT module for Gateway, a planned space station in lunar orbit. Credit: ESA
These modules will be launched by 2026 and 2027, respectively, and integrated with the Gateway while in lunar orbit. This station will be a vital part of NASA's Artemis Program, providing vital support for long-duration missions to the lunar surface. It will also facilitate partnerships with other space agencies (such as the ESA, CSA, JAXA, and others), carrying on in the tradition of the ISS.
Combined with a reusable lander, it will also for the creation of a Base Camp on the lunar surface where astronauts can conduct vital research in lunar conditions. Last, but not least, it will facilitate crewed missions to Mars in the coming decade, at which point it will no longer be a "Gateway" to the lunar surface, but to locations in deep-space as well.
Further Reading: NASA, Maxar Technologies
CategoriesDeep Space Gateway, NASA, News TagsBusek Co., Featured, Habitation and Logistics Outpost, hall effect, halo, ion propulsion, Lunar Gateway, Maxar, NASA, Power and Propulsion Element
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Osteoarthritis may occur following an accident. Such as when the ankle breaks or is sprained several times. Cartilage damage may occur at the same time as the ankle injury, but could also occur later as a result of damage to the ankle. The latter is called 'post-traumatic osteoarthritis'. It is the result of the ankle being less stable after the injury. The cartilage wears more quickly due to the unstable movements. Post-traumatic osteoarthritis may sometimes only cause problems years after the injury occurred.
Inflammation of the joint can affect the cartilage, such as in rheumatoid arthritis (rheumatism). This also causes the layer of cartilage to thin, or disappear completely. It could occur at any age. Both ankles/feet are usually affected and osteoarthritis is often discovered in other joints in the body as well.
The cartilage layer in the joint sometimes wears down without any apparent cause. Wear and tear results in the layer of cartilage at the end of the bone thinning and in the end the underlying bone may be (partially) exposed. Rough protrusions (osteophytes or parrot beaks) may occur on the bone. They may be felt and visible. Fluid may build up in and around the joint causing swelling. The pain and the swelling make movement difficult and painful. This form of osteoarthritis is most common among the elderly and is often hereditary.
The best way to establish osteoarthritis of the ankle is through an X-ray of the ankle. The ankle joint (articulatio talocruralis or upper hinge joint) is found near the articulatio talocalcaneonavicularis or lower hinge joint (the joint between the heel bone and the talus or ankle bone). Osteoarthritis may also occur in the lower hinge joint and this can cause pain in the ankle too. An X-ray usually reveals whether wear and tear is present in one or both joints. In some cases it may be necessary to perform a scan to obtain more certainty regarding the diagnosis.
There are surgical and non-surgical treatments for osteoarthritis of the ankle. Initially non-surgical treatment is tried to alleviate the complaints. There are several types of treatment available for osteoarthritis. The type, severity and extent of the osteoarthritis will determine the most effective treatment for you.
1. Damage to the joint cartilage or surrounding soft tissue: The ankle joint is covered in joint cartilage. Cartilage is smooth and its function is to ensure supple movement of the joints. A localised cartilage injury may occur following an ankle injury such as a sprained ankle. The period between the time of the injury and the manifestation of any complaints is sometimes long, over a year is not uncommon. The ankle is painful, feels unstable and may swell up. In some cases the ankle may become blocked, and feels as though it is impossible to move. We refer to this as a joint mouse (a loose fragment of cartilage) in the joint.
2. Impingement (pinching of the ankle due to bone growth or thickened mucous membrane): The ankle may be pinched (also called an impingement) at the front or back. This causes pain when the foot is moved upwards or downwards. The ankle's movement becomes limited and the capsule at the front or back of the ankle is pinched. If the ankle is pinched at the front it is also called 'footballer's ankle' and may occur if the ankle is frequently sprained.
The surgeon inserts the camera and other instruments in the joint through two or three small stitch-size incisions. The specialist is able to operate in the joint using all kinds of small pliers and a type of vacuum cleaner (shaver). The ankle may be operated on via the front or back, depending where the problem is. The joint is 'cleaned up' during keyhole surgery. This is a relatively minor procedure usually performed at the outpatient clinic. The surgeon removes damaged cartilage and bone protrusions in and around the joint using small pliers and shavers (type of small vacuum cleaners). This operation is useful during the early stage of osteoarthritis. If the operation is a success the complaints are reduced but do not usually disappear completely. It may take several months before the maximum effect is achieved. You can usually put weight on the operated ankle immediately after the operation. In some cases it may be necessary to keep the weight off the ankle for several weeks and you will need to use crutches to walk. Most patients (75-80%) are satisfied with the end result of this operation. Unfortunately, there is also a risk that in approximately 5% of patients this operation will make the complaints worse. With osteoarthritis of the ankle cleaning up the joint is useful in the early stages of osteoarthritis.
Arthrodesis involves securing the bones of a joint together. In the ankle this means that the tibia is secured to the talus. As a result the ankle is immobilised. Immobilisation of the ankle is generally a relatively successful operation. Although you are no longer able to use the joint as normal because it cannot bend, the pain is significantly reduced or disappears completely. This makes moving around easier. When the joint is immobilised the remaining cartilage in the joint is removed. This is usually done using keyhole surgery. The ends of the bone are positioned together in the right position and secured with screws below the skin. If the joint below the ankle also displays osteoarthritis, a large metal rod can sometimes be inserted through the heel, which holds both the ankle and the lower hinge joint in place, and is called a double fusion.
After the operation: A cast is needed after the operation. Several weeks later it is usually possible to transfer to a walking boot. On average bone requires ten weeks to fuse together properly, but there are exceptions when it may take a lot longer.
Mobility of the foot: Following a successful operation in which the ankle is immobilised, patients can function relatively normally. The greatest disadvantage of this operation is that the ankle can no longer move. This makes it difficult for the foot to roll properly or stand on tiptoe. There is still movement in the joints of the mid-foot, so it appears that the ankle can still move a little. Few people need adjusted shoes following this operation. Walking barefoot may prove more difficult than when wearing shoes (people with a stiff ankle will limp slightly when walking barefoot). Most people are able to simply resume their previous work after this operation. Most will be somewhat limited in their sporting activities such as running and jumping. In general, sports such as swimming, golf and cycling can be practised normally.
With an ankle replacement the worn joint is replaced by a prosthesis. In the procedure a limited amount of bone is removed from the ankle and instead a metal cover is inserted with a type of hard plastic component in between.
No bone cement is used to fix the two metal components in place. At the rear they are covered in hydroxyapatite, which promotes the ingrowth of bone, as a result of which the prosthesis, as it were, grows into the original bone. The components of the prosthesis are available in different sizes to resemble your original joint as closely as possible. The plastic component comes in different thicknesses to achieve the perfect ligament balance; the new ankle joint must not be too loose, nor too stiff.
After the operation: You can usually return home a few days later. A standard cast is fitted after the procedure. In principle, when you are discharged this cast is replaced by a walking boot, which means you can already put weight on the operated leg. The ankle may be painful for the first few days after the procedure. You will be given the necessary pain therapy to control it. The pain will gradually decrease. During the first few weeks it is recommended that you regularly elevate the leg, as it tends to swell if weight is put on it for long periods, causing increasing pain. During the first few weeks it is important to regularly place ice on the ankle to prevent the foot swelling. During cast immobilisation anti-thrombotic prophylaxis is administered (phlebitis injections). This consists of daily injections to prevent phlebitis or clot formation and embolism. The stitches are usually removed during your consultation a couple of weeks later. You can try wearing normal (roomy) shoes, if possible, around four weeks later. However, in some cases there will still be some swelling, which will gradually subside. Therefore, it is better to avoid wearing tight-fitting shoes at first.
It is important to train the mobility of the toes. In principle you can start right away in your cast. Once the wound is healed and the cast has been removed we advise you to exercise the mobility of the toes and ankle in water using alternating baths (alternating between cold and hot water). This helps the joints become supple again more quickly and the swelling will go down faster. Nevertheless, you must bear in mind that swelling of the foot and ankle is not abnormal the first few months. It is also recommended that you have physiotherapy. The physiotherapist can administer additional lymph drainage and make the corrected joint mobile more quickly. A normal gait can also be relearned. The scar will gradually fade over time. Once the cast has been removed you may hydrate the foot and massage the scar by applying a foot cream or moisturiser. This will make the skin supple and benefit the scar's appearance. It is also best to keep your scar out of direct sunlight during the first year.
The aim of an ankle prosthesis is for your ankle to be painless, stable and movable. You should not expect normal movement (as with a normal ankle). However, the movement you have will be more than adequate for your everyday life. Sports activities such as swimming and cycling are permitted. Walking is also allowed. However, running sports are not recommended. Driving is usually possible again after six to eight weeks. The expected lifespan of a prosthesis: studies have revealed that after 15 years, 90% of prostheses are still in good condition. Yet much depends on the patient's activities. If the prosthesis becomes detached there are techniques to potentially replace it.
The following non-exhaustive list of complications may occur after surgery.
- Swelling of the ankle: very common and will usually persist for between two and four months. The swelling usually increases during the course of the day.
- Infected wound: as in any surgical procedure, the wound may become infected, despite the measures taken. This can usually be treated with the right antibiotics.
- Deep vein thrombosis, phlebitis and pulmonary embolism: this complication may still occur in spite of anti-coagulants being prescribed. It involves a clot forming in the veins that can sometimes be transported to the lungs (embolism). It requires hospitalisation for declotting therapy that usually has to be continued at home in the form of medication.
- Loss of feeling: because the skin nerves cross some of the areas where incisions are made, this may result in a direct injury or as a result of wound retraction (nerve contusion). This causes a temporary or, in rare cases, permanent loss of feeling in part of the foot.
- RSD: this is an unexpected disruption of the localised blood supply with initial pronounced swelling, feeling hot to the touch, tingling, perspiring, clamminess and a shine to the skin, as well as localised osteoporosis. If these signs appear, you must contact your doctor urgently, as fast treatment usually provides a favourable prognosis.
- Loosening or bone ingrowth failure: despite the best fixation techniques, in some cases the bone has insufficient healing capacity. As a result the bone does not fuse with the prosthesis. A second procedure may be necessary.
- Risks associated with the anaesthetic: these are best discussed with your anaesthetist.


This is mostly going to be a repository of my ideas, as I don't stay on this project consistently.
I wanted to do something with knights, quests, fairies, giants, and dragons except that all of those things are in space. The Star Kingdoms are slowly falling apart due to issues external - the arrival of giants, fairy machinations, dragon hoarding - and internal. Answering the people's cry for justice, a number of warriors and holy folk have congealed out of the Void to protect and aid as best they can. They're not the only people who can fight at the scale of giants and fairies, but they are among the best equipped to do so.
While there are numerous Star Kingdoms all over the galaxy, most threats and quests affect a solar system at the highest level of scale.
Void Knights may be the central hook, but it's also possible to play local citizens who have something making tackling giants and fairies viable.
I don't assume that the citizens are human default. That said, being a hypothetical species with multiple limbs or other useful traits isn't going to be relevant to the story unless you take Distinctions or Talents to emphasize it.
I use the word 'kingdom' mostly for aesthetic purposes. I'm not opposed to Star Kingdoms that have different forms of government.
While giants, fairies, and dragons are bad news when hostile or imperialistic, there's plenty that are benign. Also, while not common, hostile and imperialistic Void Knights do exist.
I'm not getting into the rigors of space travel for this iteration. Most actions are handled on-foot as it were.
Void Knights: Warriors congealed from the Void to answer calls of justice. Their weapons are capable of cutting certain brands of magic.
Cold Priests: Worshipers of the gods within the Void. They weave blessings and offer whatever wisdom can be found from nothing.
Helm Knight (tentative name): People who make use of the Star Kingdoms' advanced prostheses. Sometimes warriors, but often used as administrators in various kingdoms.
The Blessed Child: People touched by divine providence or magic.
The Noble: Princes, princesses, children of dukes, whatever. More likely to be a social character, but their station can give them access to magical weapons.
I'm currently using Cortex Prime and I have a broad idea of what mods I want to use from it: Distinctions, Attributes, Roles, Specialties (MHR-style), and Talents as the sources of your dice pool. I will also probably add Stress and want to flirt with Hero Dice.
Roles that I'm currently thinking of are Councilor, Courtier, Rogue, Scholar, Seeker, Warrior. Councilor is sort of the healer Role on top of giving wise council and Seeker is a quasi explorer/survivor/physical labor Role. Certain archetypes can also expand Roles: The Cold Priest would use Councilor for blessings and the like.
I went with Talents instead of Distinction-specific SFX because I assume a certain level of setting agnosticism, but some Talents would still be locked by Archetype with a few Talents being universal.
Currently, still need to noodle through what Attributes and Specialties I want to use and brainstorm Talents.
You Are Knights, Not Kings: You were called to uphold Local justice, not your own. Respect their ways.
You Are Knights, Not Pawns: Still, demand respect when earned and do not let them subvert your fellow knights.
Warriors, priests, and others still who answered the desperate cries of the Star Kingdoms. Information about their origins are sometimes hard to discern. Most of the denizens that roam the Universe share a location of origin and broad social customs, but it's not unheard of for denizens that currently occupy the Kingdoms to hail from different eras of the Void. There is mention of other polities and factions that exist in the Void, but ancient oaths and magics seem to draw out the Void Knights in particular.
Void Knights: Warriors congealed from the Void wielding illusion-cutting blades and density-piercing spears. The most obsessed with upholding the oaths that summoned them and honing their virtues like knives.
Cold Priests: A misnomer, there have been several gods worshiped by the Void and the roster has changed over eras, but the Cold Priests are the most numerous and so the name stuck. They grant council, heal the wounded, and grant strange boons and blessings.
Abyssal Exiles: Even the Void has its share of criminals. They answered the call to escape their crimes, only to wind up in worlds much worse off than theirs. Experts in manipulating shadow and cold.
Null Sovereigns: Otherwise called Tyrant or Traitor among the Void denizens. On the rare occasion, a denizen breaks their oaths and seek to rule a piece of the material universe, often accompanied by transforming the environs into something of the Void.
Other polities are presumed to exist in the Void, but citizens from those places are rare in the Kingdoms. Their appearance may be tied to strange anomalies and the workings of sorcerers.
There are plenty of things from the Void akin to animals, ranging from steeds and beasts of burdens of the Void to vast beasts and space-faring hunters.
Sounds a bit weird, but cool.
I'm trying to figure out what my Archetypes do and what Talents that should give them or what those would look like.
Void Archetypes in General: Should emphasize magical or martial power and strangeness over temporal or social power as they're strangers to the Star Kingdoms and their ways. They might not possess a monopoly, but they likely have a number of talents keying off heroic success (or Hero Dice should I flirt with those). Standard Signature Assets include abyssal beasts, void weapons, and the occasional blessing.
Void Knights: The Fighting Void Knight. They do wield illusion-cutting blades and density-piercing spears, however.
Abyssal Exiles: Sneaky and cunning, they can manipulate shadows and seemingly teleport among their other abilities. Last I checked, motion is heavily abstracted in Cortex games so I might need to fudge it a bit.
Local Archetypes in General: Should emphasize some combination of martial, magical, and social/temporal ability.
Helm Knights: Use advanced prosthetics to fight and interface with the machines of the Star Kingdoms. They're commonly employed as administrators and governors, but warriors are not uncommon. Should have talents that revolve around prosthetic-based Assets and machines.
Nobles: Mostly focuses on social and temporal power, but might have a magic weapon or connection due to wealth. Signature Assets might be a sign of office or an ally.
Blessed Children: Usually has some kind of magic blood, blessing, magic weapon, and a folk hero affability.
Sorcerers: A bit undefined at the moment, I'd like to see more Cortex Prime games come out before I do too much development on magic.
So coming back to this a bit belatedly, I think I want to move back to Distinction SFX rather than an Archetype locked Talent system, although I still plan to differentiate between Void and Local player characters.
I'm still looking for a good list of Attributes, though I might just steal the Swashbuckler set.
Councilor advises, governs, ruminates, and soothes. You might roll to advise, heal, or to appear trustworthy among other things.
Seeker is the Role of questing, hunting, and survival. You navigate forests and ruins and push things around with Seeker.
And maybe some kind of Specialty system ala Marvel Heroic, though I do not know what to put in it just yet.
I'm not familiar enough with regular Cortex to know what a good Distinction would look like, so I'll probably try to eyeball things for now.
Roles and (MHR-style) Specialties cover the same territory. I don't think you really need both.
Fair enough, I guess I could introduce Role-specialties instead. Though I'm not 100% sure what the edge cases are. Like what Role would I use to build things? I want to say Seeker for Camps, reinforcements, and traps and Scholar for everything else. Magic generally changes from Archetype to Archetype. Locals typically use Scholar, Void magics tend to be infused throughout the Roles, but probably favors Councilor. Among NPCs, the magic of the giants manifests through the Seeker Role and Courtier for Gentry glamours.
Universal Distinctions: Distinctions that anyone can take. Typically emphasizes special traits (extra limbs, heat sensing eyes) or fighting styles.
Local Distinctions: Distinctions used by the inhabitants of the Star Kingdoms. Typically emphasizes temporal power and a few assets.
Void Distinctions: Void exclusive. A combination of strange magics and likely the most common heroic success manipulators.


Indian government considers further stiffening of foreign investments in the tobacco sector, posing a significant threat to the market share owned by Philip Morris International.
The American global cigarette and tobacco company has already written letters to the trade minister and a dominant government think-tank. Philip Morris said, the protectionist" and "discriminatory" propositions would slam a blow to its plans to launch fresh products and frame further investments in India.
Martin G. King, Philip Morris' Asia president wrote to NITI Aayog, India's most influential government think-tank that, "The proposed ban will impact our future investments in India and also force a review of our overall operations". The concerned organization has a solid say in federal policies, including matters related to foreign investments.
In 2010, India banned foreign tobacco investment in the sector centered to cigarette manufacturing, but it still permitted tobacco companies to invest through licensing agreements and technology collaboration. Moreover, investments could also be built by creating a trading company.
However, since the previous year, the government has been considering to curb these, in order to shield public health interests.
According to a Philip Morris spokesman, the firm had "nothing further to add" in context to the company's view on foreign investment.
The major decisions on the rules, established by recommendations from various ministries, would be managed by Prime Minister Narendra Modi's cabinet.
After the 2010 ban on cigarette manufacturing investments, Philip Morris developed a new wholesale trading company with the help of Godfrey and an investment firm.
As per the current arrangement, Marlboros are manufactured by Godfrey while the trading firm by Philip Morris helps promote them.
However, if the new rules are imposed, Philip Morris' future investment ideas in India would land in jeopardy, since any form of new collaboration or investment would be banned.
Facebook Planning to Make Changes in News Feed for People "well-being"


Traditional design popular in Scotland, copied from a Victorian original from a house in Edinburgh . The knobs are turned in hardwood. They come with loose floral shaped nickel back plates and nickel collars on each knob for reinforcement. Finish ebonised. Matching escutcheons and cupboard knobs available. See below.


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Inspiration: Divine Intervention or Colloquial Exchange
by Hajra Haider Karrar
Four young artists have been approached for this interview, whose works emerge from personal narratives investigating personal, social and cultural identities, often through memory and history, while expressing them in an individually derived vocabulary using distinct mediums. In a short span of time they have made a mark nationally and internationally with their work and have become a source of inspiration for art students and emerging artists.
Hajra Haider Karrar: The breakthrough point in your practice was a drastic shift in not just your vocabulary and palette but also your medium; what inspired this change?
In your opinion, how important is it to be inspired and what is the role of inspiration in your practice? How do you process it?
Rehana Mangi: I had a habit, inherited from my grandmother, of unconsciously collecting fallen hair, in order to prevent "black magic" (which is often practiced on human hair).
In my final year at college, I was losing a lot of hair due to some stressful circumstances. During that period I became detached from my surroundings. I preferred solitude and meditation, which helped me discover myself. I recalled childhood memories, and started making "cross-stitch", a form of counted thread embroidery I had learnt when I was twelve and immensely enjoyed practicing. It is a complex technique in which every stitch and pattern created is counted and calculated. It was a good exercise to keep my mind busy. I started using hair as metaphor of loss and death, and I picked colourful patterns from my childhood memories like flowers and butterflies stitched on my pillow covers back in Larkana. I started to stitch these patterns on wasli using the fallen hair. There is a meticulous process involved in my practice, making grids, punching holes and then stitching. My own cultural practice and stories related to my past inspired me. My tutor, Imran Qureshi, encouraged me to explore further and I appreciate the freedom of selection of material and scale given to us at that point.
Marina Abramovic said, "An artist should look deep inside himself for inspiration". There are many hidden clues in terms of inspiration in our self, life, culture, past, present and even daily life experiences; inspiration can automatically be seen in any artist's work; there is an important role of inspiration behind any art work; it is a reflection of the thought process of an artist.
HHK: Your work is deeply embedded in aspects of social and cultural identity. What is it that inspires and connects you to the narratives which are distant yet very near to you?
Your work has mostly been exhibited internationally. Do you think your audiences understand the grave connotations present in the multiple layers of your minimalistic works? Do you ever feel pressured to produce work which is anchored in the local context?
Basir Mahmood: My earlier works were related to social and cultural identity, now I am not very particular. I develop my work through observations. Observations I make of my surroundings, the situations I am in – this has been one of my strategies for sustaining freshness in my work. It has also been a reason why travelling naturally became a vital part of my practice in the past few years.
My work is an outcome of the conversations I have with myself. This is how I personalize each and every work. This process is important to me, the most; at times the work itself becomes secondary.
While making a work, I often shift my position from an artist to a viewer. I like the position of a viewer, this position I take with no understanding of art. Then I break all the complexities to the basics, to reach a wider audience.
I am in complete denial of carrying a specific identity while making a work. The struggle is to make the viewer believe, that I think like them and make them forget where I come from.
HHK: Teaching has been an integral part of you. You started teaching even before graduating. How does this link inform your practice?
How much of a role did art education play in inspiring your practice? Do you feel that the models applied today in art education are inspirational for the artists in training?
Ali Kazim: Yes, that's right, I have been involved in teaching throughout my career apart from a two years gap I took to pursue a Master's degree.
I think teaching is an exchange between the two. If it becomes one-sided then it changes into one of the most boring jobs. I feel I have learned a lot over the period of time, not only by teaching but also by becoming a student again, where I got a chance to observe the education system from a students' perspective. I also noticed the differences in teaching methodologies and the students' commitment with the studio hours. Travelling and exposure to the art, all these facts have helped me rethink about my practice. It's hard to single out the teaching only.
I am not sure how much art education/teaching has inspired my practice but for sure, initially it helped me to stay and practice in the same field. I think that was a very crucial point for me at that stage of my career.
I do not think the models applied in our education system are up to the mark but fortunately the system is not stagnant; it is evolving which is a very positive sign.
HHK: Your drawings are built upon stories of Sufi traditions you heard as a child from the village elders.
In the last couple of years there has been an emergence of emerging artists producing works influenced by your practice. What do you think inspires them in your work?
Were you ever influenced by any artist at the starting point of your practice? Do you feel that your inspiration and the inspiration of these emerging artists coincide at some point?
Waqas Khan: Honestly, I have no idea. It could be a number of things. Each viewer finds their own connection or association in my work. Similarly, it is quite possible that the artists following the same vocabulary have found a connection which they feel is accurate for their expression.
This vocabulary is not new, it has existed at different periods of time, either as pointillism or minimalism. My work may have been a trigger in the resurgence of it as I have seen works in a similar fashion from not just Pakistan but also other parts of the world.
There are always trends within the field of arts which are followed, whether impressionism or cubism. In the recent times, it would be the usage of certain symbols/objects, animals/insects or religious iconography which have been used. At such times, the emerging works tend to have traces of these trends, which with the passage of time shift on to another trend.
I was inspired by the art form of dance and movement. That is the crux of my practice. If you look at my work, your eye does not stand still for a moment, it keeps moving with the flow of the points I render. Yet, every point is complete in itself.
Probably, it is all about connections. These lines all connect at some point.
Waqas Khan, Breath of Compassionate, Archival black ink on white wasli paper. 30.2 cm x 43.5 cm, 2012. Image courtesy artist and Sabrina Amrani Gallery.
Basir Mahmood, One For Each, Two For All (Triptych), Acrylic Face Mounted Photo Rag, 30cm by 45 cm, 2013. Images are courtesy of the artist and Grey Noise Gallery.
Rehana Mangi, Vehano (pillow),Gouache, animal hair and tea wash on wasli paper, 21×27 inches , 2013. Image courtesy Usman Javaid.
Ali Kazim, Untitled Self-Portrait With Cloud and Untitled 3 (Storm Series). Images courtesy the artist.
Hajra Haider Karrar is a independent curator based in Karachi. Currently she is the curator of IVS Gallery, Indus Valley School of Art and Architecture, Karachi.
– See more at: http://www.artnowpakistan.com/articles.php?article=Inspiration:-Divine-Intervention-or-Colloquial-Exchange#sthash.NkEBUGu9.dpuf


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La Chronica Sclavorum o Crónica de los Eslavos es una crónica medieval que trata sobre la cultura y religión precristianas de los eslavos polabios. Fue escrita por Helmoldo de Bossau, un sacerdote e historiador sajón. Describe los acontecimientos relativos a las tribus eslavas noroccidentales conocidas como Wendos hasta 1171.

Historia
La crónica una continuación de los Hechos de los Obispos de la Iglesia de Hamburgo de Adán de Bremen y fue a su vez seguida por la Chronica Slavorum de Arnold de Lübeck.

Véase también
 De Administrando Imperio, obra bizantina del siglo X sobre otros pueblos vecinos
 Crónica primaria, obra eslava del siglo XII sobre la Rus de Kiev

Referencias

Libros de historia del siglo XII
Literatura de Alemania del siglo XII

redpajama_set_name: RedPajamaWikipedia


 Our customers talk about: TXTImpact offers a simplistic web-based t..
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hapi doesn't ship with logging support baked in. Luckily, hapi's rich plugin ecosystem includes everything needed to configure logging for your application. This video will introduce good, a process monitor for hapi, and good-console, a reporter for good that outputs to standard out.
00:00 Out of the box, Hapi doesn't ship with logging support beyond basic console log. If I make a request to a Hapi server, no feedback shows up in the console. Hapi does, however, have a rich ecosystem of modules and plugins that enhance Hapi in numerous ways, one of which is logging.
00:17 I'm going to go ahead and install a couple of modules, good and good-console. Good is a process monitor for Hapi that listens for different event types, then passes those events on to reporters. Good-console is a good reporter that outputs events to standard out.
00:33 Now that they are installed, I'll create an options object that will be used to configure good. The only required option is reporters, which is an array of objects that will configure each reporter. I'm only going to use one reporter, that's good-console. There will only be one item in my array.
00:52 I need to tell good which event to pass on to good-console. In this case, I'm only listening for log and response event types. Next, I need to register the good plugin with my server using server.register, passing in a reference to the good module and the options I specified above.
01:13 Server.register requires a callback as its last argument. The body of this callback is where I should complete my server setup, including defining routes and starting the server.
01:30 Now that good is configured, let's see how it shows up in the terminal. I'll start the app and refresh the browser a few times. We now see events tagged with response coming through to the terminal.
01:45 Speaking of tagged events, let's look at a couple of examples of how we can log tagged events. I'll add a couple of server log calls to my root route. The first argument should be a string or array of strings, each containing a tag. The second argument is the message to log. An error and info log should do.
02:10 After restarting the server and refreshing the browser, we can see the two new events in the terminal, one tagged with error and one tagged with info. Now suppose I don't want to show log events tagged with info in my terminal.
02:25 Instead of setting the log config to star, I can set it to an array of tags instead. Only events with those tags will be passed to the reporter. Now when I start the app and refresh the browser, only the logged events with an error tag show up.


text:
function Hello(){
    alert("Hello, World!");
}
function EventHandler(){
    alert("I'm event handler!!");
}

alert("Hello, World!");

var surname = prompt('GreetingSs friend, may I enquire as to your surname?');

var name = "Dombo";

var age = 20;

redpajama_set_name: RedPajamaGithub


text:
The University of Maryland, Baltimore is an Equal Opportunity/Affirmative Action employer and educational institution and does not discriminate on the basis of race, color, religion, age, ancestry, national origin, gender, sexual orientation, gender identity or expression, physical or mental disability, marital status, or protected veteran's status to recruit, hire, compensate, train, and promote employees and applicants for employment in all job levels with regard to their qualifications and without consideration to the aforementioned categories. Exceptions to this policy will be made only as allowed by law; for example, due to bona fide occupational qualifications or lack of reasonable accommodations for disabilities.
The University is committed to equal opportunity in the workplace and affirmative action to identify qualified applicants from many backgrounds and to retaining a diverse workforce. All of us benefit from the opportunity to work in an environment that brings together people from diverse backgrounds, and equal employment opportunity is essential to achieving diversity. The University prepares an annual Affirmative Action Plan aimed at developing and maintaining a broadly representative workforce. Through internal monitoring and reporting systems, the University assesses the effectiveness of its Affirmative Action Plan.
The University is committed to fostering a work environment free of discrimination where respect and civility is valued. To that end, the University condemns incidents of hate crimes, intimidation, and bias. Harassment or acts of violence that are racially, ethnically, and/or otherwise motivated and which infringe on the rights and freedom of others will not be tolerated at the University's institutions or facilities.
The coordination of responsibilities for the implementation and monitoring of the Affirmative Action Plan has been assigned to Sheila K. Blackshear, Administrator of Diversity, ADA and Affirmative Action in Human Resource Services, with the full support of the president, deans, and vice presidents. Although school and departmental Affirmative Action Coordinators have responsibility for implementing the Affirmative Action Plan, administrative officers involved in University employment actions also are expected to promote the principles of equal opportunity and affirmative action.
Jay A. Perman, MD, President


grandma's cookie jar: crafting with grandma - Unique Map Gift Idea!
crafting with grandma - Unique Map Gift Idea!
. . . a photo map! What is a, "photo map" you ask? Well . . . it is where you take a photo in every State (or country) you visit and cut it to the shape of the state (or country) then glue it on another map! I LOVE this idea! What a fun gift this could make and what a fun way to show and remember the places you have visited! You'll find all the details for making this at the following link.
This could be a fun and unique gift - gather photos of someone - or possibly your family, make a map then mount it or frame it for a wonderful gift! It is an idea you could involve your grandchildren in . . . have them help gather photos, cut them out and glue them on a map for a gift for their parents which is unique and filled with memories!
Now . . . to find and gather photos . . . Enjoy!
2014 Christmas Give-Away - LeapBand!
2014 Christmas Give-Away - LeapTV!
2014 Christmas Give-Away - RED HEART Medley Yarn!
2014 Christmas Give-Away - Time for a Bath!
grandma's cookbook - Mini-Apple Pie Cookies!
just for fun - Today is Homemade Cookie Day!


It's not the norm – in fact we'd go as far as to say that it's unprecedented that three of the most emblematic of Mozart's operas – 'The Magic Flute', 'The Marriage of Figaro' and 'Don Giovanni' – are on the programme in the same season at the Gran Teatre del Liceu. 'Don Giovanni' now takes the stage in a modern production from Kasper Holten. Josep Pons is musical director, and the two main roles are performed by a couple of top-level baritones: Mariusz Kwiecien and Carlos Álvarez.


Most of the time we select wrong type of products without see any reviews. We think top 5 best Shower Doors review video help you for select best one.
A step by step process of removing framed shower glass..the easiest way I know how !
Video of how to steps by Tom Whitaker, Mr. ShowerDoor for Glass Magazine, 2011.
http://www.tilemasterga.com In my new video I am presenting how to gently, safely remove framed 1/4" shower door enclosure without braking and glass.
RV 3 Panel Shower Door Shattered! How To Replace It Yourself.
Our brand new 5th wheel arrived with a shattered glass shower door. Here's exactly how we fixed it ourselves, so can you.
Kohler has fixed the diverter to prevent water from splashing out from under the door.
Installing a glass shower door is a process that requires a lot of patience. We show you here how to carefully install the fragile glass on tile without a huge mess!
Sliding shower doors commonly fall off. Learn how to repair these doors and get them back on track with the help of a professional contractor in this free video.
Shower door tracks get a buildup of stains and calcium deposits and can be cleaned with commercial cleaning products or a mixture of warm water and vinegar.
A quick adjustment of shower door level when it won't close. If your shower has a level adjustment bar like this one, you will want to watch this first.
Be sure to use 100% Silicone caulk. The tube should say something about tub/shower on it.
Check out this quick fix for a loose frameless shower door handle.
Andy from Shower Seals UK shows you how to fit a shower seal in this instructional video.


When our daughter Stacey was diagnosed in third grade with three types of non-convulsive epilepsy and a related learning disability (called dyscalculia), my husband and I were at a loss about the best way to help her academically. This situation became even more complicated, as she concurrently began to struggle with motor skill functions, spatial issues and a lazy eye condition that required eye-patching.
Getting Stacey's medical diagnoses was the easy part. Getting the academic solution was more of a challenge. Where should she attend school? What was the best environment for her to learn and thrive academically? She was already in a top, year-round public school but we didn't know if Stacey should stay or be in different school, given her challenging issues.
We slowly began to visit and evaluate the many types of schools in our area: public schools, private schools, charter schools, magnet schools, state specialty schools—there were many choices available to us. One by one, the other schools told us that they didn't understand Stacey's issues, didn't have the appropriate teaching staff to help her or simply could not accommodate or properly follow the type of IEP she needed.
The year-round public school Stacey attended turned out to be her best bet. They offered learning disability specialists, special equipment, disability counseling and testing, and dedicated grade-level teachers who could effectively use school resources to help Stacey learn and grow. They also helped her recognize and leverage her above-average language and writing skills, while also helping her decipher and manage her dyscalculia. Her high school algebra teacher even used M&M candies as manipulatives to help her understand algebraic concepts in an unconventional way.
In the end, Stacey successfully completed her K-12 school years in our public school system. She edited her high school newspaper, was tapped for Quill & Scroll Honor Society, earned numerous volunteer awards and received scholarships based on her essay about overcoming her disabilities. She gained admittance to the University of North Carolina at Wilmington, her first choice, earning a B.A. in English and a Professional Writing Certificate. She went on to become a TV news producer for NBC and now enjoys a career in mortgage lending industry marketing.
We are so grateful that Stacey had such an exceptional experience in our local public schools. Her teachers helped shape and "launch" her despite her disabilities, fostered her love of learning, gave her confidence in her strengths and provided her with lifelong tools that continue to serve her today.
Linda Crandall serves on the board of North Carolina PTA and is the chair of the Special Education and Inclusion Committee.


Listing courtesy of Guillermo Rodriguez (CalBRE#01845819), Century 21 Peak.
Please, send me more information on this property: MLS# SR19021375 – $1,195,000 – 18145 Superior Street, Northridge, CA 91325.
I would like to schedule a private showing for this property: MLS# SR19021375 – $1,195,000 – 18145 Superior Street, Northridge, CA 91325.


I have to say this is pretty amazing. The WordPress blogging platform now offers artificial intelligence for proofreading, and we're not talking any old spell checker.
The proofreading feature checks spelling, misused words, grammar, and style. You can tell the type of error by its color.
For anyone who self-publishes on the web this is "just what the doctor ordered." There is only so many times you can proofread your own content.
A little research shows that this feature is available using the JetPack plugin and comes from the technology After the Deadline which was purchased by WordPress.
Science Experiment: How fast can you react?
I love this piece from Scientific American, written in the format of a teaching lesson, instructing you how to perform a science experiment: How Fast Can You React?
Think fast! Have you ever noticed that when someone unexpectedly tosses a softball at you, you need a little time before you can move to catch it (or duck)? That's because when your eyes see an incoming signal such as a softball, your brain needs to first process what's happening—and thenyou can take action. In this activity, you can measure just how long it takes for you to react, and compare reaction times with your friends and family.
Keep reading – How Fast Can You React?
Continue reading Science Experiment: How fast can you react?
Posted on June 12, 2012 Author robotchampionCategories defaultTags chart, education, gravity, instruction, introduction, lesson, neuroscience, pencil, reaction, ruler, Science, scientific american, teaching, timeLeave a comment on Science Experiment: How fast can you react?
The concept of 'teaching' the immune system to recognize and destroy cancer cells is over a century old, but the development of immunotherapeutic strategies for cancer was slow for many decades. However, much has been learned about the immune system in the meantime, and with the recent approval of two new immunotherapeutic anticancer drugs and several drugs in late-stage development, a new era in anticancer immunotherapy is beginning.
The video takes an audio-visual journey through the different approaches that are being investigated to harness the immune system to treat cancer.


The weather is changing and your happy trailing for the season has come to an end. For most RV owners, this means one thing: it is time to store the 'abode for the road' for winter. If you want to see your RV ready to roll straight out of storage next spring with little extra effort, it is important to get your RV properly prepared for storage. Here is a helpful checklist you should follow when you are getting ready to tuck away your RV for winter storage.
Removing all of the food from your RV is an absolute during winter storage. Clear out the fridge and freezer for sure because no power for a few months will mean to refrigeration. Not only should you remove the food from the refrigerator and freezer, but also clean out any tidbits or spills that may be hanging around. Likewise, leave the doors of the refrigerator and freezer open so mildew will not be an issue.
Even non-perishable foods need to be removed from the cabinets and pantry before storage. Even though these foods may have an expiration date far beyond next spring, the extreme fluctuations in temperature can still cause problems. For example, if you leave canned drinks in the pantry, you shouldn't be surprised to come back in the spring to find they have frozen and busted. Plus, any food on board will just be a pest attraction.
Do a thorough run through of your RV inside and make sure all appliances that utilize LP gas are turned off. If your RV has a pilot light, extinguish this as well. Check the main valve and turn it off completely and firmly. This will ensure that even if you inadvertently left a gas appliance on, it will not be leaking gas into the cabin.
A parked RV is an ideal spot for small creatures to take up residence. Whether it is the exhaust pipes from the back or the vents on the roof, these areas must be sealed off before storage. Through the winter, bird, mice, and other small animals will be looking for these places to create a warm home, and the last thing you want is to come back to your RV in the spring and find that you have a family of rats hiding out in the walls or birds in overhead vents. This doesn't take as much effort as it sounds. Just grab some cardboard and duct tape to cover any exterior openings.
Any messes left behind in your RV will just get tougher to clean while it sits in storage. Remove all bedding and dirty laundry. That bedding may seem fine to leave behind and that small stack of dirty laundry might not look like such a big deal, but leaving dirty linens and laundry in your RV for the winter will just mean a bigger mess come spring. Take the time to clean up spots and spills in cabinetry, on counters, or on the flooring. Vacuum carpets and area rugs, along with cloth-covered seating.
The plumbing system is by far one of the most important components when you are preparing your RV for winter storage. Drain all gray water tanks and water storage tanks completely. Even clean water in the water supply tanks can stagnate over the winter, which would be a huge disaster when you're ready to climb aboard again. Don't forget to also turn on the faucets in the RV to eliminate any remaining water that may be hanging out in the water lines. Keep in mind that you will also have to flush any remaining water from the water heater and the toilet. Likewise, clearing your onboard sewage tank is a must.
Most RV owners take this time to also clean out the holding tanks, which can be accomplished by filling the tanks with clean water and a store-bought cleaning solution or a few cups of bleach and then draining the solution back out. Once all drainage lines and tanks have been cleaned and drained, it is a good idea to use compressed air to blow dry any remaining water droplets left behind.