Conditioner with quinoa protein helps repair and strengthen damaged hair, while naturally derived conditioners help provide intense detangling and leave it smooth and soft.
• conditioners target the damaged areas of the hair for intense detangling that helps prevent breakage.
• hair is left feeling smooth and touchably soft.
After shampooing, smooth evenly through damp hair from roots to ends. Rinse thoroughly. Follow with damage remedy™ daily hair repair.
40 ml: Tube is minimum 62% post-consumer HDPE and up to 38% bioplastic (which is 96% plant-derived and 4% petrochemical). Recycling is limited. Please contact your local recycling program.
200 ml: 65% post-consumer HDPE tube. Recycling is limited. Please contact your local recycling program.
21 litre: 100% post-consumer HDPE bottle. Please recycle.


text:
RIGGED! 58,000 illegal votes uncovered in Texas!?
by Frank Holmes, reporter
American voters could lose the ability to hold a free election if voter fraud isn't reversed—and two top officials in America's reddest state say the problem is only getting worse.
Tens of thousands of illegal voters are helping turn Texas into a swing state.
Texas officials scoured state databases and flagged 95,000 non-citizens who are registered to vote — and 58,000 of them had already voted in at least one election.
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Some of them have been illegally voting since 1996!
"Every single instance of illegal voting threatens democracy in our state and deprives individual Texans of their voice," said Texas Attorney General Ken Paxton.
The very "integrity and efficiency of elections in Texas" depend on the "accuracy of our state's voter rolls," said Texas Secretary of State David Whitley, the state official in charge of voter registration.
President Trump also helped sound the alarm on Twitter, saying that "these numbers are just the tip of the iceberg. All over the country, especially in California, voter fraud is rampant."
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He said this trend "must be stopped" by passing "strong voter ID" laws.
58,000 non-citizens voted in Texas, with 95,000 non-citizens registered to vote. These numbers are just the tip of the iceberg. All over the country, especially in California, voter fraud is rampant. Must be stopped. Strong voter ID! @foxandfriends
— Donald J. Trump (@realDonaldTrump) January 27, 2019
Texas' findings could prove Trump right when he said that millions of people from coast to coast voted in the 2016 presidential election.
And that has Democrats blowing a gasket.
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Reviewing whether voters are legal citizens threatens "a cornerstone of our democracy," according to the Democrat who chairs the state's Mexican American Legislative Caucus, State Rep. Rafael Anchia.
Another Democrat, Celia Israel of Austin, called striking illegal immigrants from the voting rolls a "sham."
Another activist said prosecuting known illegal voters is racist.
Paxton's plan wouldn't even eliminate phony voting registrations immediately… but that hasn't stopped the meltdown.
Anyone on the list will receive a Notice of Examination from the county voting board. The voter can provide proof of citizenship—like a birth certificate, passport, or a certificate proving they've become a naturalized citizen of the United States.
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Only people who can't do that would be taken off the voter rolls. That sounds reasonable, right?
The office even found that thousands of the people on the list had later become legal citizens — and took them off the list on its own! But that hasn't slowed down the hysteria from Democrats.
Part of the reason is that the Republicans are putting muscle behind their efforts this time.
Ken Paxton has promised to prosecute anyone caught voting illegally. "We will spare no effort in assisting with these troubling cases," he said.
After all, dirty elections silence U.S. citizens, or speak in his name.
Harvard Doctor: "There is no maximum human lifespan" [sponsored]
Take the case of Jesse Vargas Jr., a legal citizen who left the state of Texas more than 40 years ago.
But he's been voting in the Lone Star State for the last 25 years… or so it seemed.
Wolves on the black market had been selling copies of his birth certificate to illegal immigrants for 25 years—and they've allegedly been voting in his name, over and over again.
It turns out an illegal immigrant named Enrique Salazar Ortiz bought a copy in a bar for $20.
"He's been voting"—illegally—"since at least 1994," said Bexar County elections administrator Jacque Callanen.
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The only thing that tipped off the state is when Ortiz applied for a passport, and the State Department put two and two together.
Now he's going to be deported… but if the liberals have their way, how many more illegals will end up voting in his place?
Maybe the reason Democrats are so worked up is because they know they could end up behind bars!
Last October, the party mailed a voter registration form—with the boxes that say the person is a legal U.S. citizen over the age of 18 already checked!
Thousands upon thousands of illegals could have sent those forms in and registered as Democrat voters.
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"Could this be why the Democrat party wants to flood the U.S. with millions of illegals—to tip elections?" asked Adriana Cohen in the Boston Herald.
Not only could they tip elections, they may have already.
— Frank Holmes is a reporter for The Horn News. He is a veteran journalist and an outspoken conservative that talks about the news that was in his weekly article, "On The Holmes Front."
Tiger Woods gears up for last major of year
Woman climbs Mount Rushmore, gets fined big time!
Hiker lost after being chased by knife-wielding man
[Insane] Kids BUSTED transporting drugs in back of truck

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How to directly compare two lists of integers with that are in different functions in Python I am currently working on a class project, and it deals with user-defined functions.
I had to get the grid size of an array and put them in a list, as [row, columns], and then there is another function where they check by putting random integers in another list to see if that certain position is inside the array or not. For example, if I have an array with 3 rows and 4 columns, it would be [3,4] and during the test, I inserted [4,4] it would return as false. I am not allowed to hardcore the "position" variable, and that is the one where a list of two integers will be given to compare to the actual size of the array.
What should I do?
Here is my current code
def get_grid_size(grid: list[list[str]]) -> list[int, int]:

    grid_size = load_map(MAP_FILE)
    col = len(grid_size[0])
    row = len(grid_size)
    grid_size = [row,col]

    return grid_size

def is_inside_grid(grid: list[list[str]], position: list[int, int]) -> bool:
    given_row = int(position[1])
    given_col = int(position[0])
    grid_rows, grid_cols = get_grid_size(grid)
    print(grid_rows, grid_cols)
    while True:
        if grid_rows >= given_row and grid_cols >= given_col:
            return True
        else:
            return False

I tried getting the 0th and 1sth index and respectively make them as row and column variable, then checked weather or now those position row and position column integers were smaller or equal to the actual array row and array column, if it was smaller or equal to, then yes its inside the grid, if its bigger, its not. Negative integers will not be tested for.

redpajama_set_name: RedPajamaStackExchange


text:
Q: How to pass this element to another function from inside function of event listener? I have an event listener of a parent div and a button using the same function. while the one with the parent div I only want the it to go to my function if parent area is click and not its children. This is what I have so far:
btn.addEventLister("click", myFunction);

div.addEventListener("click", function (e) {
      if(e.currentTarget === e.target){
         myFunction();
      }
   });

function myFunction() {
  var type = this.getAttribute('data-type');
  // do something here
}

The btn listener works, but somehow the div listener doesn't work. Somehow its seems like it doesn't recognize the "this". Any idea how to solve this?

A: You need to pass the button explicitly... for example with
 myFunction.call(btn);

this code basically invokes the function setting this to btn


text:
It took us 7 years of hard camera work, 10 fines and 4 arrests to become world's greatest producers of bum sex videos ever. The shit was worth it - you won't see this mega-dirty street action anywhere. Grab your seat and prepare for outrageous hardcore flicks with bums fucking in the streets, cellars, and even in cesspits! Many of these scumbags had no chance for sex for the last 10-20 years - but with us they can thrust their filthy cocks in a proper hole.
These guys will get into serious trouble if they keep doing that
Depicting sexual activity performed by homeless people, almost criminals, should be banned.
I've seen much, man, but these guys made me look for my jaw on the floor!
It kicks ass, and it kicks ass more than anything I saw in porn. Ten points!
Believe me, it's real. It's real and very shocking. How can you film these things?!
No glamorous pornstars you are used to, these are the lowest of the low, and they rock.
Denis 39 y.o.
Beggar gets his dirty cock sucked off by a horny redhead woman
Denis and his girlfriend used to live in a posh house, but Vasya's business went bankrupt and they found themselves in the streets. Today they live in the attic of a house in the town of Pupyshivo. Let's have a look at their pastimes =)
Ura 65 y.o.
Poor homeless people perform blowjob and hardcore sex in the grass
A bum called Jura is known for being hunted down by young punks who perfect their fighting skills on him. Used to be a trucker, dreams about entering professional sport. Likes fucking with his socks on.
Sasha 56 y.o.
Russian homeless people know many places to have dirty sex
This bum called Sasha was engaged in amateur performance in his childhood, always dreamt about the big stage and cinema. We helped his dream to come true in some way, and he suggested lots of plots for the flick.
Lesha 37 y.o.
Poor hobo goes to sand quarry to have sex with still very sexy waif woman
Lesha, a 37 yo bum, is a real cool Eminem here. The land of his dreams is Germany, though the land of his reality is the southern cemetery.
] [
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Best Political Astrologer in India: Astrologer Mukesh Sharma is a well-known reputed name in the Field of Astrology. He is Best Political Astrologer in India and provides best predictions as well as judgments for the promising achievements in the field of Politics. Pandit Mukesh Sharma ji Follows Vedic Astrology Principles and Modern Astrology Techniques Hence there is No place of Disappointment or Negative Results with Best Political Astrologer in India.
Profound Erudition & Global Repute Astrologer Mukesh Sharma is Expertly offer you Propelling and Beneficial Guidance regarding Career in Politics along with the Desired Name & Fame in the National, Regional and International Politics. Political Astrology is the most Trickiest and Sophisticated Field and Astrologer Mukesh Sharma possesses the Discerning & Enriching Experience of more than ten years.
Astrology is an Ancient Vedic Art that makes it possible to know whether the Person will be able to become a good Political Leader or not by just Analyzing one's Birth Chart or Kundali.
Different Planetary positions in Person's Horoscope Influences the one to take politics as Professional Career. Here Astrologer Mukesh Sharma through some light on the Influencing Planets and Houses in Horoscope or Birth-Chart are highly responsible to Build Political skills and Career.
Present Scenario has changed. Politics is no longer just a medium of serving your Nation or Helping the people but Politics is being seen as a Business. In the Today's World, a large section of people wants to be the part the ruling party or Politics. The Planetary Positions in one's Horoscope do Matter to predict whether a person can have Chances to place Himself or herself at the Higher Position in the Politics.
The Chances of Achieving good Reputation, Success and Career in the Political World may be Inherently and Significantly Influenced by the Effects of Stars & Planets of the concerned Individual. In order to pass Predictions regarding Politics, Astrologer Mukesh Sharma Starts with comprehensively Observing the Birth Chart of his Client than he Conducts the Intelligent Analysis of the obtained Facts.
As per the Astrology, For the Desired Booming, Renowned and Stable Career in Politics, the following Planets should be present in one's Birth Chart in a Strong Position along with Favorable Yogas with all other planets like Moon, Saturn, Sun, Rahu and Mars. If we talk about Natal Chart than Tenth house, Sixth house, Seventh house and Eleventh house should be properly Analyzed for Prosperity and Success in Politics. Specific Doshas, Yogas and inter relationships of Stars & Planets are other factors that are responsible for Thriving Career in the Field of Politics. In Political Astrology Planet Saturn is considered as the Influencing planet of public. The position of Saturn in the Horoscope/Birth-Chart indicates the Mood of the Public. If the Saturn is present in the 10th house or may be forming a relation with 10th house in the Horoscope than the person either supposed to do Politics or Serve the public.
Gemini System is the Astrological System whereon the Basis of Significations, we predict the most likely Results. In Gemini System the highest degree Influencing planet is called the significator of Self and the planet with the second highest degree is the Significator of Minister. Further the Significators are set in the order of Mother, Brother, Father and Caste. The most important Significator in Politics is the Significator of minister i.e. the second highest degree planet.
If Ascending Lunar Node and Sun are the most likely Significators of the Second Highest Degree Planet i.e. minister and also the person is very much Interested in Politics then all these arrangements result in very successful Political career.
When Rahu (Ascending Lunar Mode) is the Significator of minister then this combination makes the person capable of forming successful strategies and executing them in a very definable Manner. This person is also blessed with the quality of Adapting Adverse Situations.
When the Sun, father of the planets is the Significator of the Second Degree Planet i.e. minister then the person is Destined to get Name & Fame or Higher Position in the Society/ politics.
Astrologer Mukesh Sharma provides Flawless and Dependable Political Astrology Services and cover all the issues & problems related with the Regional, National or International Politics. Till date, numerous emerging Politicians, Political Leaders and parties has availed the marvelous Astrology Services for Politics.
Following are the Issues & Matters related with Political Life that Political Astrologer Mukesh Sharma tackled using Black Magic Mantra, Gemstone(s), Astrology Yantras, Gemini System ,Vashikaran Techniques and other Astrology Remedies.
We provide Best Judgment over the Better Career Possibilities in the field of Politics.
We provide Best Predictions over the Achievements or Results to be obtained in the Politics.
We suggest most Promising and Suitable Political Party to join for a Better Political Career.
We provide Best Election Strategies and Analysis.
We provide Effective Solutions regarding your Political Problems in a definable manner.
We provide Suggestions & Guidance for Best Political Moves.
We provide services for all other uncertainties & Problems associated with Politics.
If you are Looking for Best Political Services using Different Astrology Ways then Contact India's Best Political Astrology Specialist Mukesh Sharma Ji.
Posted in Best Astrologer and tagged Best Political Astrologer, Career in Politics, Important Houses for Politics, Important Planets for Politics, Political Astrology, Successful Politician.


EDIBLE GOLD-INFUSED OIL, A NEW EXPERIMENT IN THE FOOD INDUSTRY.
Auleum, a new blend of quality and elegance.
The edible gold-infused oil with 23 carat edible gold Giusto Manetti Battiloro has a name: Auleum.
A new product that brings oil, gold, and art together. A top quality mix that combines the elegance of gold and the design of its diamond-shaped bottle. This is Auleum, the edible gold-infused oil with 23-carat edible gold by Giusto Manetti Battiloro.
This new product is the extra virgin olive oil that combines the precious quality of the taggiasca olives (typical of Liguria) and the shine and richness of 23-carat gold flakes by Giusto Manetti Battiloro.
The idea of Auleum came to six entrepreneurs from Savona, who, after exploring foreign markets, decided to make it an international product, choosing the markets that could better appreciate this project with such a special aesthetic value. A bottle of Auleum contains the roots of a territory, the oil of the Garello oil mill based in Nasino, near Savona, where the olive trees are cared for, one by one, away from the humidity of the sea, and the ceramic art of Tullio Mazzotti, who created a collection of maiolica (a special ceramic typical of Majorca) bottle tops.
Edible gold has been widely used in the food industry since ancient times. The 23-carat edible gold by Giusto Manetti Battiloro blends perfectly with the golden shades of olive oil. This way, a bottle of Auleum is like a painting that depicts the light of Italy and the splendour of its art.
Auleum is a combination of three elements that make up a top-quality artisanal product that acquires value over time: the delicacy of taggiasche olives, the luxurious gold flakes, and a bottle whose top is a unique piece of the exclusive ICON 2016 collection.
The 2016 icons are the story of a chance meeting that tells about the refined beauty of this material that results in an elegant and inimitable collections, as authentic and unique as the AULEUM experience.


text:
Ankle Exoskeleton May Be Able to Boost Your Speed by 10%
Mar 31 2020 • 9:41 AM
While we've seen nothing from Edge of Tomorrow come to fruition in real life yet—at least nothing that isn't so impractical it's basically useless—there are still strides being made toward bringing something vaguely ExoSuit-esque into reality. And when it comes to literal strides in the field, the latest one comes from Stanford. A team of researchers there has tested an emulation of a nascent ankle exoskeleton device. It could potentially boost a person's max speed and make running far easier.
The New York Post reported on the emulation of the ankle exoskeleton. Its makers discussed the project in a paper in the journal Science Robotics. The researchers highlight the "emulation" part of this experiment since they weren't necessarily testing a prototype of an ankle exoskeleton. Instead, they were exploring the ways an effective one could potentially be built.
More specifically, the team at Stanford, led by Steve Collins, an associate professor of mechanical engineering at the university, built the device to gather more data regarding the best way to assist a runner with an exoskeleton device. With the right design there may be the potential to make running 15% easier. It could even boost a given runner's speed by 10%.
An illustration of the ankle exoskeleton emulator, minus the motors. – Stanford
The emulator used in the research consists of a carbon fiber frame. The frame straps around a user's shin, from just below the knee down to the ankle joint. This, in turn, attaches to a metal lever. One end of the lever literally sticks inside of a user's shoe. The other end attaches to large, standalone motors by a combination of ropes and cables. When a user runs, the device pulls their shoes up in the air by the ankle exoskeleton system after each toe-off (the point in a person's gait at which the foot rises from the floor). This allows runners to save energy.
"Imagine someone was running behind you and holding little ropes that were attached to your heels and every time you push off the ground, instead of having to do all the work, someone else lifted your feet for you," Delaney Miller, a graduate student of mechanical engineering and member of the research team says in the video above. She adds that "it feels very springy and very bouncy compared to normal running." (Although this is a qualitative explanation of what's happening, Collins et al. were able to register quantitative data based on a mask the runners wore, which gauged how much oxygen they breathed in and how much carbon dioxide they breathed out.)
Optimized, powered ankle exoskeleton assistance can reduce the energy cost of running by 25% wrt zero torque, 15% wrt no exo. Spring-like assistance was ineffective.
With Kirby Ann Witte, @fiers_pieter & @AlisonLSheets in @SciRobotics: https://t.co/SbjQPez9JA pic.twitter.com/bQUczUGDfP
— Steve Collins (@StevenHCollins) March 25, 2020
Moving forward, the researchers say it'll likely be possible to turn an untethered version of the ankle exoskeleton into an effective, real-world device. "You can almost think of it as a mode of transportation," Guan Rong Tan, a graduate student in mechanical engineering involved with the research, said. "You could get off a bus, slap on an exoskeleton, and cover the last one-to-two miles to work in five minutes without breaking a sweat."
Featured Image: Stanford
TAGGED: Exoskeletons, ExoSuits


text:
The Nutritional Institute
Audio and Podcasts
Luise De Sousa
After being diagnosed with breast cancer, I decided to take control of my health. The most important aspect I had to address was my nutrition, and I came to see Ian about this. I would never have known which foods to eat abundantly, together with correct supplements to support my methylation and inflammation issues, if it wasn't for the DNA gene tests that Ian recommended that I take. Combine this with tweaking and readjusting my eating, I feel confident that my health is improving and I will be dis-ease free! Luise De Sousa
Andrew Jansen Van Rensburg, Physiotherapist and long distance trail runner
During trail ultra marathons, I would struggle with gut issues around the 8-9 hour mark. After consulting with Ian and correcting my eating, I was able to get closer to my full athletic potential, running with no gastric issues and completing the Ultra Trail Drakensberg 100km trail run in 7th position. Andrew Jansen Van Rensburg, Physiotherapist and long distance trail runner
Pooja Dela, Litigator and bride-to-be
I have delved into your book and find myself, at many instances, saying - it's like this book was written for me. In that sense, it has already instilled a sense of stillness and confidence in a mind that has been stressed and panicked about my previous poor nutrition advice and resultant uncontrollable weight gain. Pooja Dela, Litigator and bride-to-be
Gerard Finnemore, Clinical Psychologist
The presentations last night were a real 'tour de force'! By the end, you could hear a pin drop! Hearing Rachel rip into phony food products is something everyone should hear. Gerard Finnemore, Clinical Psychologist (refering to Rachel's presentation in 12 Steps to Wholesome Nutrition)
Deon Braun, Publisher of Trail Magazine
I've been spending time digesting your book (Wholesome Nutrition) and it's like a good veggie soup or bean casserole - the more I eat and savour, the more the goodness and taste becomes apparent. Deon Braun, Publisher of Trail Magazine
A busy attorney
"I suffered from fibromyalgia type issues and battled to work a full day as a busy partner in a law firm, let alone exercise. In a little over a year with Ian, I went from a size 38/40 to a size 32/34, was able to work a full day and take up competitive show jumping." A busy attorney
Nikki Wilson, SAANT Chairperson
Wholesome Nutrition: "We have said it for so long and with such ease; 'we are all different and there is no one perfect diet for everyone.' Ian and Rachel have written an easy-to-read book that illustrates this. Robust in its research and science, this book is a must read for everyone who is sick and tired of the fads and hypes around nutrition. I hope that it will be a go-to book, so that we learn to honour the complexity of our bodies, while gaining practical advice for nourishing ourselves and our families." Nikki Wilson BSc (Hons), South African Association for Nutritional Therapy (SAANT) Chairperson
Michelle Helen
"I suffer from irritable bowel syndrome, so I came to see Ian, because my colon was in constant spasm and pain all the time. Within a day of not having cows milk, my stomach cramps went away. I stopped my daily cappuccinos and drink black rooibos tea with honey instead and on the weekends, I don't drink wine; I have whiskey. It's been just over a month now of having no milk or wine and I've had no cramps at all. I've even lost lots of centimetres around my tummy area." Michelle Helen
Cuan Helen
"I came to see Ian because I was training for the Sani2Sea MTB race and couldn't loose weight, plus battled with IBS. Within four weeks of changing the way I was eating, based on a food sensitivity test, I dropped four kilos and eventually decreased my weight from 110 to 99kg, plus settled my gut symptoms." Cuan Helen
Tara Mallett
"After a year of struggling to lose weight, Ian has helped me to get the results I craved. He recommended achievable changes in my nutrition and looked at what was going on with my body and health as a whole." Tara Mallett, about to get married
Michael Fysh
"Going from being terrified after my diagnosis of ulcerative colitis, and not having very much success in treating it, to now feeling that I have a chance of keeping it under control and living a normal life. That's the amazing gift that Ian has given me." Michael Fysh, farm manager
Taryne Jakobi
"Rachel's recipes have opened a whole new approach to food preparation for me. Sprouted nuts, kefir, sauerkraut, oat cookies and bone broths represent a total paradigm shift in the way I approach the food I make and serve my family." Taryne Jakobi, food stylist for Wholesome Nutrition
Ian Craig
Rachel Jesson
Email: info@thenutritionalinstitute.com
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text:
El Samsung Galaxy Tab 4 10.1 es una tablet Android producida y distribuida por Samsung Electronics. Es la cuarta generación de tabletas de Samsung, y también se incluyen a las tabletas de 7 pulgadas y de 8 pulgadas respectivamente,
el Samsung Galaxy Tab 4 7.0 y el Samsung Galaxy Tab 4 8.0. Este dispositivo fue presentado el 1 de abril del 2014, y lanzado el 1 de mayo de 2014 junto con el Galaxy Tab 4 8.0.

Especificaciones
Esta tableta fue lanzada con Android KitKat 4.4 con interfaz de usuario TouchWiz UX. Además de incluir aplicaciones de Google, como Google Play, Gmail o YouTube, también tiene acceso a Samsung Apps, como ChatON, S Suggest, S Planner, S Smart Remote (Peel) (solo versión WiFi), Smart Stay, Multi-Window, Group Play y All Share Play.
El dispositivo está disponible en solo WiFi, 3G y WiFi, y 4G / LTE (llevado por AT&T y Verizon) y variantes de WiFi. El rango de almacenamiento varía de 16 GB a 32 GB según el modelo, con una ranura de tarjeta microSDXC para expansión. Tiene una pantalla  WXGA TFT de 10.1 pulgadas con una resolución de 1280x800 píxeles. También cuenta con una cámara frontal de 1.3 MP sin flash y una cámara trasera de 3.0 MP AF. También tiene la capacidad de grabar videos
en HD. Tiene  GPS y un receptor de GLONASS.

Dispositivos Android
Computadoras tabletas
Samsung Galaxy Tab

redpajama_set_name: RedPajamaWikipedia


text:
Sports SUB FEATURE (4)
June 17, 2019 July 6, 2019 Tomas Roberts
With the match a few short hours away, Jordan Henderson had been summoned by his manager. It was the 30th August 2012 and Liverpool were gearing up for a crucial Europa League clash vs Hearts. Jordan Henderson would be starting, very possibly for the last time, as Liverpool and Brendan Rodgers were prepared to give him up as part of a deal for Fulham's American star, Clint Dempsey. "It implied to me that he would let me leave and it was up to me. I went back to my room. I shed a few tears. I ended up crying a little bit because it hurt so much. I had the game that night to think about as well."
Jordan Henderson, front and centre, celebrates with the European Cup. Photo Credit: CosminIftode / Shutterstock
Henderson was subbed off on the 76th minute mark, with the tie poised at 1-0 to Liverpool, with Henderson off, a Pepe Reina error brought Hearts level before Luis Suarez bailed Liverpool out late on. "I spoke to my agent and told him what had happened and I said I didn't want to go. I wanted to stay and fight and try and improve and try to prove the manager wrong. My agent agreed. I spoke to my dad. He was gutted but he backed my decision to stay and fight."
From that point on Henderson kept his head down playing a pivotal role in Liverpool's surprise and heart breaking title challenge in the 2013-14 season and then became Liverpool's vice-captain on the 15th September 2014, following the departure of Daniel Agger.
"Life at this age is rubbish with no money #needajob" Andy Robertson tweeted on the 18th of August 2012. "I'd have been 17, just turning 18 when I took that job. I was still at school. It was Christmas, they were bringing on temporary staff."
"I was one of them. I enjoyed it, to be honest with you! When I look back, that's where I feel it was quite good. I never put pressure on myself.
Andy Robertson, left, makes a crucial last ditch tackle on Cristiano Ronaldo in the 2018 Champions League Final. Photo Credit: viewimage / Shutterstock
"I wasn't thinking, 'That's football gone'. I was relaxed. People fall out of love with the game when they leave academies. But I can cope with things. I've never thought to myself, 'I'm giving up on this'. There's no easy way to the top", said Robertson.
"I'm very interested in how the brain works and the different personality types" Divock Origi tells Andy Hunter in a 2017 interview with the Guardian, "Maybe if I wasn't a footballer I'd be a psychologist."
A few months later Liverpool would loan the young striker out to Vfl Wolfsburg, for many this seemed to suggest Origi's Liverpool career was coming to an end and, after a less than convincing stint in Germany, that outcome seemed highly likely.
Divock Origi scored the second goal in Liverpool's 2-0 victory over Tottenham, to seal Champions League victory
However, on the 2nd of December, with Liverpool drawing at home to Everton, Origi was introduced as an 84th minute sub replacing Roberto Firmino. The ball fell to Virgil Van Dijk just outside the box, the technically gifted centre half swung a boot at it and completely sliced the attempted shot. It seemed to everyone on the red side of Merseyside, that this hapless effort had put an end to their hopes of a derby day win. Everyone bar Divock Origi that is, he did what every striker is told to do from the first time they step on a football pitch, follow the shot in. Anything can happen, and anything did happen, a sloppy Jordan Pickford handling error and Divock Origi went from the forgotten man, to derby day hero.
"They still need to come to us" I told my mates as the whistle blew, bringing the first leg to a close. Lionel Messi magic had been the difference between the two teams in the first leg and it seemed to all neutrals that the tie was done and dusted. But not to Liverpool fans, for we have been here plenty of times and they still had to come to Anfield. As the buses rolled towards the stadium, Liverpool fans stood outside ready to greet the team, flares and scarves in hand, to let the players know, we have not given up on you, a message which was reflected on Mohammed Salah's t-shirt.
Liverpool fans outside the ground welcome the buses for the second leg of the Champions League semi-final Vs Barcelona. Photo Credit: Gil Corzo
Make Us Dream has been a Liverpool moniker for years, and it could not be more potent than on this night. You'll Never Walk Alone was boomed out across the ground in defiance, it had felt all year like it was Liverpool against the world and on this night that sense was more pervasive than ever. In addition, the reds were without Mo Salah and Roberto Firmino against the greatest player in world football. Six minutes into the game and Liverpool's former forgotten man had sparked the reds into life, "There's one back… Divock Origi!"
From that moment onwards, it was never in doubt, Barcelona never stood a chance. It was always going to be one of those famous nights at Anfield.
For many, the journey to Liverpool's sixth European Cup was etched in heartache and many knockbacks. From the stands to the many personal situations of players out on that pitch the season had been characterised by never giving up. From the players and the fans, everyone kept going together. It would have been easy to call it a day but not at Liverpool, because at Liverpool, the city and the club, it is your obligation to keep fighting until the last… together. A philosophy that was personified by Anne Williams and her relentless struggle for justice in the aftermath of Hillsborough, and that is continued to this day.
So, when the players walked out to play Barcelona and the fans took to the ground, there was nothing to fear, for there had been many situations to overcome past and present. At the end of the day, it was just a game of football, albeit a game of football that meant absolutely everything!
"I said to the boys before the game it was impossible. But because it's you, I say we have a chance" Jurgen Klopp
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Posted on May 14, 2020 by Southeast Texas Ear, Nose & Throat
Assistive listening devices (ALDs) are portable systems that help individuals with hearing loss communicate more effectively. Unlike hearing aids, which amplify sounds, ALDs work by separating speech from background noise. This allows the person with the hearing impairment to hear more clearly.
Some ALDs are used in conjunction with hearing aids, while others work as standalone devices. ALDs are useful in a number of situations, primarily those involving distance, poor acoustics and noisy backgrounds.
What Types of Assistive Listening Devices Are Available?
There are several different types of ALDs available, for both large facilities and personal use. Some focus on amplifying speech, while others utilize computer programs to convert text to speech. Some of the different types include:
FM systems rely on radio signals to transmit amplified sounds directly to your hearing aid. They consist of a microphone, transmitter and receiver, and are used in a variety of public places such as classrooms, restaurants, movie theaters and churches.
The microphone is worn by the person speaking (or placed in close proximity to the sound source) and the signal is broadcast from the transmitter to the receiver, which is tuned to a specific frequency.
Personal amplifiers are essentially small FM systems used in smaller, more intimate settings where radio signals are less effective; they are often used when watching television, traveling by car or spending time outdoors.
The microphone is built directly into the unit, and is often directional, allowing you to aim it in the direction of the sound source in order to pick up the signal most effectively.
Infrared Systems
Infrared systems work on the same principle as FM systems, but use infrared light instead of radio waves to transmit sound. The transmitter converts sound signals into light and beams those to the receiver, which then translates the light signal back into sound.
An advantage to infrared systems is the fact that their signal is unable to pass through walls as it does with FM systems, eliminating competing broadcasts that might hamper the listener and preventing confidential information from being disseminated. They are particularly useful in courtrooms and large movie theaters.
Hearing Loops
Hearing loop, or induction loop, systems utilize electromagnetic energy to transmit sound directly to your hearing aid or cochlear implant. They consist of a sound source (public address systems are popular), an amplifier, a loop of wire and a receiver or telecoil (t-coil), a tiny wireless receiver built into many devices.
When you are in close proximity to the loop, you will receive clear sound free of background noise. Hearing loops can be connected to all types of audio sources, and are often set up in public facilities such as airports, churches and lecture halls.
Alerting devices hook up to telephones, alarm clocks, doorbells and other electronic devices. They alert you through a loud sound or flashing light, making you aware of an incoming phone call, a visitor at the door, etc.
Call Southeast Texas Ear, Nose & Throat at (409) 212-8111 for more information or to schedule an appointment.
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text:
package org.hyperion.rs2.model;

/**
 * Represents a single animation request.
 * @author Graham Edgecombe
 *
 */
public class Animation {

	/**
	 * Different animation constants.
	 */
	public final static Animation YES_EMOTE = create(855);
	public final static Animation NO_EMOTE = create(856);
	public final static Animation THINKING = create(857);
	public final static Animation BOW = create(858);
	public final static Animation ANGRY = create(859);
	public final static Animation CRY = create(860);
	public final static Animation LAUGH = create(861);
	public final static Animation CHEER = create(862);
	public final static Animation WAVE = create(863);
	public final static Animation BECKON = create(864);
	public final static Animation CLAP = create(865);
	public final static Animation DANCE = create(866);
	public final static Animation PANIC = create(2105);
	public final static Animation JIG = create(2106);
	public final static Animation SPIN = create(2107);
	public final static Animation HEADBANG = create(2108);
	public final static Animation JOYJUMP = create(2109);
	public final static Animation RASPBERRY = create(2110);
	public final static Animation YAWN = create(2111);
	public final static Animation SALUTE = create(2112);
	public final static Animation SHRUG = create(2113);
	public final static Animation BLOW_KISS = create(1368);
	public final static Animation GLASS_WALL = create(1128);
	public final static Animation LEAN = create(1129);
	public final static Animation CLIMB_ROPE = create(1130);
	public final static Animation GLASS_BOX = create(1131);
	public final static Animation GOBLIN_BOW = create(2127);
	public final static Animation GOBLIN_DANCE = create(2128);

	/**
	 * Creates an animation with no delay.
	 * @param id The id.
	 * @return The new animation object.
	 */
	public static Animation create(int id) {
		return create(id, 0);
	}

	/**
	 * Creates an animation.
	 * @param id The id.
	 * @param delay The delay.
	 * @return The new animation object.
	 */
	public static Animation create(int id, int delay) {
		return new Animation(id, delay);
	}

	/**
	 * The id.
	 */
	private int id;

	/**
	 * The delay.
	 */
	private int delay;

	/**
	 * Creates an animation.
	 * @param id The id.
	 * @param delay The delay.
	 */
	private Animation(int id, int delay) {
		this.id = id;
		this.delay = delay;
	}

	/**
	 * Gets the id.
	 * @return The id.
	 */
	public int getId() {
		return id;
	}

	/**
	 * Gets the delay.
	 * @return The delay.
	 */
	public int getDelay() {
		return delay;
	}

}

redpajama_set_name: RedPajamaGithub


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Rollins Museum of Art
SiteNewsLibrary
Stefana McClure, Roshomon: English subtitles to a film by Akira Kurosawa (detail), 2011, Wax transfer paper mounted on dibond paper, 39 x 60 in. , Image courtesy of the artist and Josée Bienvenu Gallery, New York, 2013.34.68
Alfond Collection: Artists M
From Neeta Madahar to Vik Muniz, explore the works of artists M in the Alfond Collection of Contemporary Art.
Artists Featured in This Section
Neeta Madahar Tala Madani
Chris Marker Andrew Masullo
Adam Matak Annu Palakunnathu Matthew
Stefana McClure Steve McCurry
Julie Mehretu Jason Middlebrook
Meleko Mokgosi Andrew Moore
Abelardo Morell George L.K. Morris
Sarah Morris Richard Mosse
Cobi Moules Zanele Muholi
Vik Muniz Takashi Murakami
Neeta Madahar
Falling 2, 2005
Lightjet print face mounted on plexiglas
Image courtesy of the artist and Howard Yezerski Gallery, 2013.34.56
Neeta Madahar's Falling 2 (2005) appears astoundingly simple. Sycamore seeds drop mysteriously out of a cloudy sky. Gazing at their twirling forms evokes a feeling of weightlessness, transporting the viewer into a state of reverie. Falling 2 offers a buoyant moment, a memory experience of the uncomplicated joy and sweet pleasure of childhood.
But do things ever fall quite so gracefully? Marcel Duchamp's Three Standard Stoppages (1913-1914), where lengths of string dropped from a height of one meter with the resulting swoop recorded, turned out to be a lie. Strings inevitably tangle, just as falling seeds may clump together or be taken by the wind. Evenly distributed across the surface of the image, Madahar's photograph is enchanting, the intensity of the detail and the fixity of the seeds making them somehow more present than life. We sense this even more so in Falling 4 (2005), which no longer has the bucolic presence of the sky to orient us. The deep black background leaves us entranced in a dark void where the seeds, crisply delineated and sharply focused, take on a more surreal quality—artificial and orchestrated.
Recognizing the constructed aspects of these images moves us from a state of innocence into a state of art. Madahar's images are smart, and more complex than they appear. Her work suggests the picturesque, a term first used to describe 18th-century landscape paintings. Artists at that time sought to find in nature the means to make a good picture, reversing the relationship between nature and art. Rather than copying nature, art would improve upon it. Other of Madahar's works more overtly address the role of the artist's hand in generating what appears to be a natural phenomenon. In her Cosmoses series, painstakingly folded origami flowers are scattered in a pleasing arrangement. The word "cosmos" aptly refers to both to an ornamental plant of the daisy family and an idea of the universe as a well-ordered whole. Madahar's practice similarly reconciles grand schema with detailed particularities, and her careful constructions make it possible for us to see the universe in a flower, or the beauty and randomness of nature in a tumbling seed.
--Kelly Presutti
Tala Madani
Projections, 2015
80 x 98 1/4 x 1 3/8 in.
Image courtesy of the artist and Pilar Corrias Gallery, London. Photo: Josh White, 2016.3.8
Koreans, Untitled #12, 1957
Black and white digital photograph mounted on black Sintra
9 1/2 x 13 7/8 in.
Image courtesy of the artist, the Chris Marker Estate, and Peter Blum Gallery, New York, 2014.1.56
There is an intimacy to French filmmaker Chris Marker's photographs that we rarely associate with North Korea. The country is so shrouded in propaganda, so closed to our gaze, that an image as simple as schoolgirls exercising, as in Koreans, Untitled #46, becomes utterly exceptional. Marker started his career as a journalist, and it was in this capacity that he was able to enter North Korea in 1957, just four years after the Korean War. In his own words, this was a time when "the formidable propaganda machine that would soon be identified with the sheer mention of North Korea wasn't yet running at full throttle," meaning he was able to travel freely and capture a degree of everydayness that has not been visible for many years.
These photographs were originally included in a photo-text album published in French and Korean, Coréennes (1959). Marker's written essay for the volume wanders through Korean mythology and contemporary observations; through it we get a strange, impressionistic vision of the place, complemented by his images. In Koreans, Untitled #35, Marker documents the hope characteristic of that moment, of the imagined possibility for a future that did not, ultimately, materialize. It is a scene of workers, dressed in the uniform of the proletariat, dancing in a courtyard, offering a glimmer of Karl Marx's workers' paradise, and the potential Marker saw for a communism that might avoid the pitfalls of the Soviet Union.
While the photographs do not appear as explicitly political images, they support Marker's view of politics as a matter of understanding. He attempts to promote this understanding through portraiture, primarily through faces, as if seeing into the eyes of others might truly allow us to know them and their situation. Yet for all the closeness of these images, something remains unreachable. The young mother in Koreans, Untitled #22, with her baby swaddled behind her, gazes enigmatically past us to something outside the frame. Marker shows us North Korea but refuses us the facile assumption that we could ever grasp the complexity of the country through a series of photographs; his images thrive in this paradox of closeness and distance.
Black and white digital photograph on mounted on black Sintra
13 7/8 x 9 1/2 in
Black and white digital photograph on mounted black Sintra
Image courtesy of The Chris Marker Estate and Peter Blum Gallery, New York, 2014.1.57
13 7/8 x 11 1/4 in
Image courtesy of the The Chris Marker Estate and Peter Blum Gallery, New York, 2014.1.56
10 1/8 x 13 7/8 in.
Andrew Masullo
Untitled (4469), 2005
Image courtesy of the artist and Steven Zevitas Gallery, Boston, MA, 2013.34.113
Anti-conceptual in his outlook, Andrew Masullo considers his work nonobjective as opposed to abstract––his paintings are not reductions of anything, but presentations of pure composition and color. To construct his vivacious, color-rich surfaces, he applies layers of unmixed oil paint to store-bought canvases of conventional sizes. He does not include subject matter or imagery in any traditional sense, eschewing any information that would interfere with his focus: his practice concerns only the process and satisfaction of painting itself.
Masullo typically uses a small-to-medium-size format to suit his preference of working with the canvas on his lap or leaning against a wall. Each painting is identified by a number in lieu of a title. He tirelessly reconsiders his paintings––and though the colors of previous iterations do not read through repainted areas, remnants of brushstrokes and impasto dollops testify to his patient reworking of simple elements to create a more satisfying whole.
Masullo's installations assert the interconnectivity of his forms. During exhibitions, works hang in concert, constellations of canvases of varying sizes that seem to talk to one another. Masullo majored in Languages at Rutgers University; ironically, the absence of textual or literary references in his practice creates a new kind of vocabulary, serving a visual rather than verbal mode of communication. From painting to painting, Masullo revisits particular palettes and gestures, and the repetition inevitably signals his priorities. For instance, the Pepto-Bismol pink color recurs as foreground for a white void with color-blocked flaps, as cushion for an orange and red polka-dotted shape, and as the base of an angled horizon and a collection of small rectangular and square forms. Repetition forges recognition.
Despite working within substantial self-imposed limits, within each canvas Masullo finds freedom and opens up space. Energy courses through his paintings, making as a clear an argument as any that communication comes in many forms that have nothing to do words.
--Abigail Ross Goodman
Untitled (5157), 2009–2010
Adam Matak
Red Reader, 2010
Acrylic and graffiti marker on plywood
© Adam Matak. Image courtesy of the artist, 2016.3.5
Annu Palakunnathu Matthew
To Majority Minority, 2014-15
Digital Animation on iPad
19 1/2 x 15 in.
Image courtesy of the artist. Gift of Barbara '68 and Theodore '68 Alfond, 2018.1.8
Stefana McClure
Breaking the Waves: closed captions to a film by Lars von Trier, 2002
Wax transfer paper mounted on rag paper
Image courtesy of the artist and Josée Bienvenu Gallery, New York, 2013.34.69
When Walter Benjamin wrote in 1936 about the growing popular interest in film, he noted that the medium generated a condition of distraction, precluding attention to any one detail in particular. Swept along with its temporal flow, viewers' attention is directed by a film, their vision zooming in and out and turning with the camera. In her series Films on Paper, Stefana McClure reclaims the ability to direct her own gaze, and focuses on what is supposed to be a film's least visible element––the subtitles. On a single rectangular, monochromatic surface that evokes the theater screen, McClure meticulously traces all of a film's subtitles. The result is a blur, but a blur that contains within it the content of an entire movie. Normally seen as a troublesome if necessary distraction from the film itself, here the text is the central element of the composition, in effect replacing a work with its supplement.
Gold Rush: closed captions to a film by Charles Chaplin, 2012
Yellow transfer paper mounted on rag paper
23 x 32 19/32 in.
Peel: English subtitles to a film by Jane Campion, 2010
Orange transfer paper mounted on dibond paper
9 45/64 x 16 in.
Roshomon: English subtitles to a film by Akira Kurosawa, 2011
Wax transfer paper mounted on dibond paper
The films McClure chooses to work with give us insight into her motivations. For Rashomon: English subtitles to a film by Akira Kurosawa (2010), she has selected a deep crimson backdrop. The film is a 1950 period drama that presents the telling and retelling of a brutal murder from a number of different perspectives: McClure's practice of repetition and superimposition thus mirrors the original source. Rather than pinpointing a clear account of the events, the plurality of perspectives results in a complex film and, in McClure's drawing, a visual babel.
The Sound of Music: closed captions to a film by Robert Wise, 2008
Blue transfer paper mounted on rag paper
Questions of communicability are also explored in The Sound of Music: closed captions to a film by Robert Wise (2008), whose title serves as a reminder of what we are not hearing––the music for which the film is named. Here, McClure alerts us to what is not translatable, an insight that applies to many of her visualizations of foreign-language films. Rather than assuming that the subtitles are a neutral representation of the film, McClure calls our attention to them as framing devices that mediate our experience, moving us from a state of distraction to one of inquiry.
Sharbat Gula, Afghan Girl, Pakistan, 1984
C-type print on Fuji Crystal Archive Paper
© Steve McCurry. Image courtesy of Peter Fetterman Gallery, 2013.34.93
Epigraph, Damascus, 2016
Photogravure, sugar lift aquatint, spit bite aquatint, open bite Hahnemuhel
97 1/2 x 40 3/4 x 2 3/4 in.
The Alfond Collection of Art, Cornell Fine Arts Museum, Rollins College 2016.3.17. Image courtesy of the artist and Marian Goodman Gallery
Wall Space, 2015
Acrylic on Maple
Image courtesy the artist and Morgan Lehman Gallery, 2015.1.15
Meleko Mokgosi
Modern Art: The Root of African Savages, 2013
Inkjet and charcoal on linen
10 panels: 36 x 24 in. each
Image courtesy of the artist and Honor Fraser Gallery. Photo credit: Farzad Owrang, 2013.34.54.1-4
Meleko Mokgosi is perhaps best known for making large paintings and collages that imitate grand narrative, or history paintings, in subject matter and form. Yet Mokgosi's paintings have gaping blanks in which objects, interiors, or natural surroundings are not described. In presenting narrative paintings that are simultaneously readable and unreadable, Mokgosi seems to suggest that some histories are only partially told or understood, pointing to the limits of representation and the ongoing complications of cultural translation. In particular, Mokgosi seeks to confront the issues of conflict and crisis in post-colonial Africa—from Botswana to Sudan to Zimbabwe—and to address the slippery notion of nationalism in the aftermath of colonialism and in the midst of financial and informational globalization.
At the Armory Show 2013, Meleko Mokgosi unveiled a new series of text-based paintings, Modern Art: The Root of African Savages. He took the descriptive wall labels from the exhibition African Art, New York, and the Avant-Garde at the Metropolitan Museum of Art (November 27-September 2, 2013), enlarged them to 36 x 24 inches, and printed them onto linen panels. Thus, the typical 6- x 4-inch wall label that accompanies an artwork on exhibition becomes the size of a typical portrait painting. The formal structure of the letters, numbers, punctuation, and spacing on the labels provides the groundwork for the artist's elaboration. Mokgosi annotates the label text in charcoal, crossing out and circling words, inserting question marks and arrows, and adding editorial remarks and marginalia to highlight the inaccuracies, absences, distortions, and deletions in the Eurocentric art-historical narrative of the influence of "African" art on modernist artists in Europe and the United States. In this new series, Mokgosi's emphatic textual comments and erasures are linked formally and conceptually to the detailed imagery and significant blanks in his grand narrative paintings.
Although this art-historical narrative—that "African" art is a "savage" or "primitive" form of expression—has been reexamined and redressed in recent scholarship and museum exhibitions, Mokgosi's paintings starkly reveal its lingering pervasiveness. His handwritten comments suggest the deeper implications of assigning to a particular artwork an artist attribution, country of origin, and provenance, let alone an essentializing description. Mokgosi intertwines his comments with quotes from different disciplines and sources to engage with, and alter the terms of, the art-historical narrative and to bring the viewer's attention to the continuing problems inherent in the exhibition of "African" works of art.
--Alison J. Hatcher
Campo Amor (Vista Este), Havana, Cuba, 1999
3 x 65 in.
© Andrew Moore. Image courtesy of the artist and Yancey Richardson Gallery, 2016.3.6
European Beech, Vassar College, 2007
Chromogenic print, 1 of 15
© Andrew Moore. Image Courtesy of the artist and Yancey Richardson Gallery, 2013.34.118
Since the late 1970s, Andrew Moore has used the chromogenic process to powerful effect in his exploration of both urban and natural landscapes. With a precise and artistic eye, he creates riveting documentary images of the architecture that defines a cityscape and, often, the trees that cohabit with them. His urban series––whether from Detroit, Cuba, or Russia, or elsewhere––chronicle the ephemerality of the edifices and emblems of civilized society that are constructed by man. For Moore, trees represent the opposite; they are markers of resilience and endurance. He explains that the trees he has captured in his lens "contain and summarize, as it were, the history of the land that [they] grew upon."
European Beech, Vassar College (2007) forms part of a commissioned series on the specimen trees of the Vassar College campus. The tree's trunk stands tall, its branches envelop the viewer, and its roots sink deeply into the ground to firmly establish and celebrate its permanence. Inclusion of this work in the Alfond Collection invites viewers—often stakeholders in Rollins College—to view Moore's European Beech, Vassar College in the ideal context of the college campus. Here, the beech tree functions as a totem, recalling the role of the university as a place where the young become educated, where their lives begin to branch out into new roles and directions, and where the new ideas that flower may also remain deeply rooted.
--Maria C. Taft
School District 123, Cherry County, Nebraska, from the series Dirt Meridian, 2013
Andrew Moore poignantly captures sublime scenes of desolation and dilapidation in his monumental photographs. Moore has produced several photographic series that focus on various sites with connotations of economic depression and architectural dilapidation in places such as Cuba, Russia, Detroit, and the American West. School District 123, Cherry County NE is part of the latter series, Dirt Meridian (2005–present). The title of the series refers to the 100th meridian west, which is the longitudinal line that is generally considered the dividing line between the American East and West. Running through North and South Dakota, Nebraska, Kansas, Oklahoma, and Texas, the area is scarcely inhabited due to hostile weather conditions and bleak agricultural potential.
This segment of the United States' geography has been mythologized by canonical works in art history: the sublime geological survey photography of nineteenth-century artists such as William Henry Jackson, Timothy O'Sullivan, and Carleton Watkins beckoned American settlers west, while modern artists like Walker Evans and Dorothea Lange captured the devastating reality of life in the Dust Bowl during the Great Depression. Moore's twenty-first–century photographs of the so-called "dirt meridian" take up both of these legacies in equal measure, capturing the awesome nature of the vast landscape and the people and infrastructure that struggle to exist within it.
While many of the works in the series are vast aerial landscapes, captured by the artist via a digital camera mounted to an airplane, other works, such as School District 123, are made from large-format negatives taken of isolated places sought by the artist on foot. Shot inside a small schoolhouse that once served the children of a ranching community, the photograph captures a blackboard filled with scribbles—strikingly similar to a Cy Twombly canvas—surrounded by cracking plaster and peeling paint. In many ways, this tableau can be viewed as a metaphor for the greater landscape without: it is expansive, and a small population has assertively imprinted on its surface. Though the marks have slowly faded with the passing of time, and the earliest impressions have been negated by the overlaid inscriptions of generations that followed, the blackboard palimpsest ultimately attests "we were here." Moore's photograph preserves this assertion of identity as an indelible mark made by the people of the dirt meridian.
--Samantha Cataldo
Children's Book, 1987
Image courtesy of the artist and Carroll and Sons, Boston, 2013.34.8
Abelardo Morell, who spent his childhood in Cuba—a place that time and progress forgot—is known for embracing historical photographic techniques. His works romanticize the pre-digital age in both their method and imagery, rendering the ordinary extraordinary without manipulation.
His photographs of the 1990s, taken with a camera obscura, put Morell on the map. One of the earliest forms of photography, a camera obscura isn't a camera at all by current standards, it's architecture. All the light is removed from a room by covering every window except for a small hole through which exterior light can enter. Morell sets up his film camera in the room and takes long exposures of the image, an inverse of the external scenery, which floods in through the opening. (Now, however, Morell works strictly with a camera.)
Morell's respect for photography's roots is particularly evident in his black and white work. While some photographers eagerly await every new advance in digital technology, others like Morell look backward, saving early photographic techniques from extinction and remaining enthralled by the mechanics of film cameras. Another photographer of note, Sally Mann has revived and deeply investigated the potential of antique bellows cameras and wet plate negative processes.
In our modern world in which words are so often read on screens, Morell celebrates the analog objecthood of the book. This subject is apt, as he also shuns the digital intervention of Photoshop and does not even crop his images. Furthermore, Morell had to learn English at the age of 14, which perhaps made him appreciate both words and books as aesthetic forms. In fact, observing sunlight on these beloved objects sparked a series of duotone images.
In these images and others, Morell harnesses traditional photographic techniques to elevate books—objects that bring as much knowledge and pleasure to readers as Morell's work does to viewers.
--Al Miner
Drink Me, 1998
Open Dictionary, 2001
Morell's Shiny Books (2000) exemplifies this group. The shimmering edges of countless pages within a pile of books become modern sculpture in the legacy of Donald Judd's "stacks." In Open Dictionary (2001), Morell presents the spine of an open tome. The resulting shape resembles a mysterious mountain tunnel cutting through mounds of stone.
Shiny Books, 2000
George L. K. Morris
Precision Bombing, 1944
© Frelinghuysen Morris House & Studio Lenox, Massachusetts, 2017.15.4
Maison de France, 2013
Household gloss on canvas
Image courtesy of the artist and Parallax and Petzel, New York. Photo credit: Christopher Burke, 2013.34.148
Working simultaneously in paint, public installations, and video, British American artist Sarah Morris proposes complex analogies between ideological and physical structures. She demonstrates that urban architecture is composed not only of concrete, metal, and glass, but also of intangible concepts including capitalism, power, and control. The probing eye of her camera lens aims to uncover these subliminal messages by documenting cycles of demolition, rebuilding, and gentrification in Beijing, Los Angeles, Rio de Janeiro, and other major capitals. Morris also highlights the rhetoric encoded in the built environment by mounting murals of bright, interlocking geometric shapes that interrupt the gray monotones of the metropolis. For example, Robert Towne (2006), supported by the Public Art Fund, temporarily adorned the ground-level ceiling of the Lever House in New York. This strategic placement encouraged pedestrians to break with their typical viewing patterns and redirect their attention to the upper registers of the city skyline.
The hard-edged abstractions of Robert Towne reflect Morris's signature painting style, exemplified by Maison de France [Rio] (2013) in the Alfond Collection of Contemporary Art. This grid of black, white, lavender, and citrus-colored rectangles is titled after the French consulate in Rio de Janeiro, Brazil. Morris's modular composition echoes the building's geometric windows, while the lively colors reflect the dynamic international exchange that the consulate represents. At the same time, the painting's composition recalls the geometric constructivist art style prevalent when the building opened in 1956.
As a center of Rio de Janeiro's cultural life, the landmark Maison de France houses libraries and a theater along with the embassy. Having undergone several phases of renovation in the past half-century, the building evidences Rio de Janeiro's evolution into a contemporary city. Morris delves deeper into this narrative of progress in an accompanying film, Rio (2012), which composes a portrait of the city through footage of its streets, factories, beaches, favelas, and avant-garde architecture. Interpreted in relation to this presentation of Rio de Janeiro and its modernization, the seemingly universal and arbitrary blocks of color that comprise Maison de France [Rio] assume a highly specific historical character.
Sarah Parrish
Idomeni Camp, Greece, 2016
Digital c-print on metallic paper
40 x 120 in.
© Richard Mosse. Image courtesy of the artist and Jack Shainman Gallery, New York 2017.6.4
Peace Attack, Virunga National Park, North Kivu, 2012
Digital C-print
© Richard Mosse. Image courtesy of the artist and Jack Shainman Gallery, New York, 2014.1.36
In his series Infra and The Enclave, begun in 2009, Richard Mosse uses a specific material, military reconnaissance film, to tell a story. These works in video and photography, which depict the eastern portion of the Democratic Republic of Congo, render anything naturally green in a bold pink palette because the film, now antiquated, reads chlorophyll as pink. One can imagine its usefulness during aerial surveillance. For a military operative seeking enemy encampments in the landscape, the film would have revealed fabricated structures among the foliage. In Mosse's photographs, the people of the Democratic Republic of Congo emerge from the bright pink hues. In his hands, this military-derived film becomes a powerful tool with which to create images in a place often ignored by international news headlines.
Mosse acknowledges the dire situation in the Democratic Republic of Congo, which has devolved into anarchy with various groups warring against one another and committing atrocities. Since 1998, nearly six million people have lost their lives in the eastern region. Mosse leverages a non-documentary aesthetic, utilizing a brilliant palette to capture his viewers' attention and direct it to the crisis. Moreover, references to popular songs in his titles further distance his work from documentary practice. For example, Thousands Are Sailing comes from the title of a 1988 song by the Pogues, and Safe from Harm derives from the 1991 song by Massive Attack.
Earlier in his career, the artist depicted American soldiers occupying the former palaces of Saddam Hussein's family in Iraq, but he does not consider himself a photojournalist. In fact, he views the communicative power of photojournalism as ineffective. Instead, Mosse was drawn to create work in the Democratic Republic of Congo for reasons inherent to his artistic medium as well as by more personal motives. He saw in the contrast between the ongoing violent conflict in the region and its lush green vegetation a dramatic setting for the use of reconnaissance film. Earlier in Mosse's life, when a friend's father was killed in the Congo during a U.N. peacekeeping mission, the place had piqued his interest. For Mosse, the use of black-and-white photography to depict conflict zones has become less impactful in our oversaturated visual culture. The jarring shock of his colors distinguishes his work and draws attention to the scenes of conflict through a contemporary point of view.
--Amy Galpin
Endless Plain of Fortune, 2011
First We Take Manhattan, 2012
Thousands are Sailing 1, 2012
Cobi Moules
Untitled (Playground), 2009
Image courtesy of the artist and Carroll and Sons, Boston, 2013.34.10
There are no fewer than sixteen versions of Cobi Moules's young self in Untitled (Playground) (2009). Shown as a boy, about thirteen, each of the identical figures is dressed in blue jeans rolled up to the knee, black sneakers, and glasses. Moules sets these versions of himself free in a bright suburban playground. The figures span the composition, engaged with their surroundings and with each other. Some are active, others pensive, clever, funny, daring, social, or solitary. The resulting image is gently surrealistic.
Moules works primarily with self-portraiture, using traditional techniques and a realistic style. As a transsexual, he recognizes the complex and fluid nature of identity and its representation. He has tracked his transition from female to male; in works such as Untitled (Beards) (2009), he has sketched a portrait of himself as though gazing into a mirror to document how facial hair affects his appearance. With each new development––a slight goatee, an elongated moustache, a full, bushy beard––he examines his changing persona, presenting expressions that range from stern to jovial to patient to cool.
Despite the seriousness of his investigation, Moules's painting is undeniably playful and light. Unlike the work of Cindy Sherman, who photographs herself dressed as clichéd versions of feminine stereotypes (the drunken starlet, the distraught housewife, the aging socialite), Moules is not showing what others think or expect him to be. He's exploring what he can be, exposing the plurality of possible moods and attitudes each of us harbors within.
While Moules has created for himself a zone where he can fully be all his selves, the shadows of trees in the foreground loom forebodingly. It is as if they wanted to bring him back into the world of black and white––the singular self and its identical shadow. This tension is a reminder that in the face of pressure to conform, one can and must retain a space for self-exploration, a playground that is bright and welcoming.
Makhethi Sebenzile Ndaba, Constitution Hill, Johannesburg, 2010
© Zanele Muholi. Courtesy of the artist and Yancy Richardson Gallery, 2014.1.28
I think it is the eyes you notice first. They burn out of their sockets. They are proud, and wounded, and true. I cannot know the story behind these eyes, but I do know this: it is impossible to look away.
The history of gay men, lesbians, and transgender people in South Africa is one of contradictions. South Africa is among the few African nations to inscribe same-sex marriage and equal rights for gender nonconforming people in its constitution. And yet, at the same time, life there is a struggle—against hatred, against ignorance, against violence. This reality belies the idealism and hope of the South African nation.
Photographer Zanele Muholi captures the truth of these contradictions as they relate specifically to trans men and lesbians. "You can't change the laws without changing the images," she says of her work, and it is true. My own mother used to say, "It is impossible to hate anyone whose story you know," and, indeed, I have seen the way stories—and images—can change hearts and minds. This is the way we change the world: one image at a time.
--Jennifer Finney Boylan
Sinoi Shabalala, Parktown, Johannesburg, 2011
© Zanele Muholi. Image courtesy of the artist and Yancy Richardson Gallery, 2014.1.29
Nhlanhla Mofokeng, Katlehong, Johannesburg, 2012
In Nhlanhla Mofokeng, Katlehong, Johannesburg (2012), Muholi depicts a standing figure in a white shirt, eyes piercing back at us, as a shadow in the background suggests a dancing soul, one arm raised up to heaven. The contrast is unsettling—those intense, serious eyes, a figure who seems so fundamentally still, and, in the shadow the opposite, the dancing, jubilant life that for many trans men and lesbians in South Africa remains an elusive dream.
I have never thought of human eyes as gendered before, but I do now. These eyes stare back at me, asking me to open my heart. I cannot look away. So I try to look harder.
Kwanele (Parktown), 2016
Gelatin silver
© Zanele Muholi. Image courtesy of the artist and Yancey Richardson Gallery, New York and Stevenson Gallery, 2017.6.32
Sebenzile (Parktown), 2016
The Absinthe Drinker, after Edgar Degas (Pictures of Magazines 2), 2011
Image courtesy of the artist, 2013.34.101
Vik Muniz transforms everything from ephemera to refuse in surprising ways to create images that cleverly comment on the mechanics of perception, the relationship between material and content, and the history of art.
No substance is off limits when Muniz assembles the sculptures, drawings, and collages that he photographs. Despite the intensive sculptural process that is at the center of his practice, the resulting photographs are all that survives; documents of a fleeting image. Muniz links his material to his subjects. One of the clearest examples was the subject of a 2010 film, Waste Land, for which Muniz recycled and arranged trash to depict a community near the world's largest garbage dump, located in his native Brazil.
Often the path from subject to artwork is less direct than in the Waste Land works. Rather than simply compose a picture himself and interpret it with aptly chosen materials, Muniz reconstructs existing content—the ubiquitous pictures of posters and publications—adding new layers of reference between subject and viewer. For instance, his portrait of Jackson Pollock in Bosco chocolate syrup, which mimics thinned paint, copies Hans Namuth's famous photo of the artist working on one of his signature drip paintings. Here Muniz has made a picture of an artist's photograph of an artist. This practice of appropriation places Muniz within the canon of the "Pictures Generation" photographers, American artists who came of age in the 1970s and who often directly quoted existing images.
Muniz also looks deeper into art history for inspiration. The paper collages he constructs borrow from the most recognizable and influential painters of the past, as in the case of The Absinthe Drinker, After Edgar Degas (2011). This work is a part of his Pictures of Magazines 2 series, where Muniz has torn up countless publications, harvesting images of all kinds: disembodied limbs, animals, food, porn stars, and more. Muniz's approach of reuse opens a dialogue about recycling in our disposable culture and the visual overload of our media-saturated world. Despite the slickness of the bits of paper he uses to compose these images, he manages to convey the texture of the original paintings he quotes.
His intentionally imperfect collage references the impressionistic soft edges of the original, which depicts an artist in a café next to a woman who some claimed to be a prostitute when the painting sparked scandal in 1872. Degas was a painter of modern life, with a vocabulary newly honest and provocative for his time. Given this, one can understand what would have drawn Muniz to him—their shared interest in depicting unique characters in ways that belie the stuff of their making.
Enso: Breathing, 2017
Acrylic on Canvas mounted on aluminum frame
© Takashi Murakami/Kaikai Kiki co., LTD. All rights reserved
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text:
Ms. Jana Robinson, who joined PSSI in April 2015 as a Senior Fellow, has been named Director of PSSI's Space Security Program with responsibility for all activities related to this Program. She has been intimately involved in this PSSI priority program since its inception in 2010, including the organization of its two large international conferences on this subject in June 2011 in Prague and October 2013 in Tokyo.
Ms. Robinson is especially qualified to assume these responsibilities, given a career in space security that has spanned some 10 years. She did her second Master's Degree on this subject and Asian affairs at the prestigious Elliott School of International Affairs at George Washington University in the United States. This was followed by entry into the Summer School Program of International Space University at the NASA's Ames Research Center in Mountain View California in 2009, on a partial scholarship from the European Space Agency (ESA).
Later, she headed the Space Security Research Program at the European Space Policy Institute (ESPI), the premier think tank of the European Space Agency, for some three and a half years. She then assumed the position of Space Policy Officer in the area of Space Security at the EU's European External Action Service (EEAS). Ms. Robinson also served for about a year as a Space Security Advisor to the Czech Foreign Ministry, seconded to the EEAS.
Her bio is available here.


This dissertation is a study of nonspeech communication and its significance for mutual acculturation and colonial power dynamics in the context of French-Indian contacts across the Americas in the sixteenth and seventeenth centuries. Most scholars have considered sign-language, pantomime, and other nonverbal means of communication (visual, sonorous, tactile, etc), as temporary, imperfect, and insignificant solutions to the lack of mutual linguistic understanding during early colonial encounters. It is also often assumed that these means of communication, combined with seemingly insurmountable cultural differences, inevitably promoted misunderstandings, incomprehension, and violent conflicts between early colonists and native populations. Seeking to challenge these assumptions, this work closely analyzes the nature, origins, change overtime, and cultural implications of nonverbal and paralinguistic forms of communication, which I argue importantly contributed to the accommodation process and the emergence of cultural hybridity in the early French-Indian Atlantic.;This dissertation offers to expand and refine our understanding of cross-cultural communication and miscommunication in various colonial settings. to do so, it brings in a comparative perspective the experiences of a wide range of French explorers, missionaries, colonial officials, mariners, soldiers, and settlers with a variety of native peoples, cultures, and societies in Brazil, Florida, the Caribbean, Canada, and the Upper Mississippi Valley, from 1500 to the conclusion of the Great Peace of Montreal in 1701. Research for this project was conducted in both published and archival sources, using the original French language versions of the sources, for which I provide new or first translations. The comparative scope of this work brings into question the predominant Canadian-centered chronology that has lead past studies of French America, and seeks to put greater emphasis on the influence that local indigenous cultures and contexts had on colonial developments and in shaping the alliance.;Through five thematic/chronological chapters, my work traces the emergence of a culturally-syncretic repertoire for communication in the early French Atlantic, in which non-linguistic elements were at least as important as spoken words to mediate relations between individuals and groups. Starting with the emergence of shared nonverbal codes during first contacts, the project then explores the process of acculturation as a sensory journey through otherness, then demonstrates the permanence of nonverbal means of communication during and after the mutual acquisition of language by French and Indians. It provides an in-depth look at the role of nonverbal performances in ceremonial oratory in seventeenth-century New France with particular attention to the contest between Jesuit and Indian orators. The dissertation ends with a comparison of nonverbal dimensions of diplomacy in New France and the Caribbean, until the eve of the eighteenth century.
Carayon, Celine, "Beyond Words: Nonverbal Communication, Performance, and Acculturation in the Early French-Indian Atlantic (1500--1701)" (2010). Dissertations, Theses, and Masters Projects. Paper 1539623569.


30-45cm. (trailing). Tuberous. Trailing stems bear light orange flowers all summer. Good in hanging container. Winter dormant.
I've always kept it in a just frost-free greenhouse, but others told me it was hardy, and it has survived outside this winter!


When you come to Advanced Surgical Hospital, your goal is to go back to the life you love, doing the things you love to do. Our goal is to help you achieve positive outcomes that will leave a lasting impression. We want the way you feel when you first visit with us to be as affirming as the one you have long after you leave here.
Each member of the Advanced Surgical team embraces mutual trust and collaboration in a welcoming and supportive way.
Designed around you, our facility is a unique care setting that has achieved the highest quality ratings in the region.
Fully accredited through the Joint Commission, Advanced Surgical Hospital specializes in exceptional elective orthopedic surgery, tailored to your unique needs.
Even our MRI is more comfortable, allowing you to feel less claustrophobic, and our experienced technicians capture the clearest scans while making you feel at ease.
Customized physical and occupational treatment underscored by high-quality care and a positive approach will get you back to what is most important to you.
Acute and chronic pain management at Advanced Surgical is managed by physician specialists in a calm setting designed to help you recover, physically and emotionally.
At Advanced Surgical Hospital, taking the time to form a relationship with you and your loved ones is one of our core values.
My experience at Advanced Surgical was so easy. Everyone was so helpful. I was so relaxed through the whole procedure.
Everyone was very kind – professional – caring – sense of humor – if I need the facility again, I would definitely go back.
I want to commend the entire staff for their professionalism and compassion. My nurses and anesthetist nurse were outstanding, unfortunately I forget their names. You have a great staff! Thank you.


Based on raw radar data that I saw from Flight Radar 24 in just 15 seconds FlyDubai Boeing 737-800 went from climbing stably to slamming into the ground at 21000ft per minute. Looks like a pilot input error while performing a go-around. Go-Around is performed manually.
Only way I can think of to go down so quickly is to turn control yoke left or right very quickly possibly by reacting to a strong crosswind gust causing dangerous unrecoverable bank angle resulting in sudden drop in altitude. At night and poor visibility, this can further disorientate and cause full loss of control.
My condolences to the passengers and crew of this flight. RIP.


This item is a warehouse sale because there is no handle as usually is the case with our beautiful inlay trays. The actual tray is pictured and the quality of the finish is excellent. There are no returns on warehouse sale items.
This exotic Emerald Green Marrakech Bone Inlay Tray is simply stunning and perfect for serving food or drinks or as a beautiful decorative piece that could sit anywhere in your home.
Please note: The colour of the trays are now a slightly darker green than the styled images provided (this applies to the styled images only), these trays were made at different times and colours can vary slightly as the item is hand-made from dyed camel bone.
This product is dispatched within 1-2 business days if in stock or can be custom order for delivery within 6-8 weeks.
The tray is a gorgeous centrepiece to our table and accentuates the room perfectly. It is very well finished and the colours are vivid and distinct.
The service and delivery from Zohi was excellent.


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Charles Henderson High
Pike County High
Pike Liberal Arts
Goshen High
Zion Chapel
Troy Life
Southern Classic Food Group owner gets $1.3M loan to develop vegetable processing plant in Brundidge
Published 3:00 am Thursday, May 18, 2017
By Jaine Treadwell
Messenger Photo/Jaine Treadwell Chuck Caraway, owner and manager of Magnolia Vegetable Processors in Brundidge, received funding on behalf of Magnolia Vegetable Processors through the USDA Rural Economic Development Loan and Grant program. David Bailey, SAEC general manager, presented a check in the amount of $1.36 million to Caraway Wednesday at SAEC. The funds will be used for the development of Magnolia Vegetable Processors.
After a lot of paper shuffling and signing on Wednesday morning, David Bailey, South Alabama Electric Cooperative General Manager, handed Chuck Caraway a check for $1.36 million on behalf of Magnolia Food Processors.
Caraway, the founder and president, of Southern Classic Food Group and Magnolia Vegetable Processors in Brundidge, was gracious in his acceptance of the funds and in his acknowledgement of the entities that have paved the way for the growth of the food manufacturing company.
The funds were made available through the USDA Rural Economic Development Loan and Grant program that provides funding for rural projects through utility organizations.
Andy Kimbro, commercial and industrial account representative at South Alabama Electric Cooperative, said USDA provides zero-interest loans to local utilities that, in turn, pass through to ultimate recipients for projects that will create and retain employment in rural areas. The ultimate recipients repay the lending utility directly.
USDA provides grants to local utility organizations, which use the funding to establish revolving loan funds. Loans are made from the revolving loan funds to projects that will create or retain rural jobs. When the revolving loan fund is terminated, the grant is repaid to USDA.
The $1,360,000 made available to Caraway includes a USDA $1 million interest-free loan, $300,000 in grant funding and a $60,000 match from South Alabama Electric Cooperative.
Caraway said the loan and grant funds will be used in the development of Magnolia Vegetable Processors, a vegetable processing plant that will specialize in pickling, initially okra, peppers and cucumbers. Green beans, pearl onions, baby corn and relish will be added. Salsa, which Caraway said is the number one condiment in the country, is on the drawing board.
"MVP will be good for our farmers because the plan is to use local farmers, as often as we can, to grow the vegetables we need," Caraway said. "We'll begin with okra and jalapeno peppers – red and yellow – and cucumbers. We have two customers this year and the response has been good. We expect 22 customers next year."
Marsha Gaylard, Pike County Economic Development Corporation president, said if there were a poster child for entrepreneurs, Chuck Caraway would be that "child."
Caraway began his entrepreneurship in Brundidge with Southern Classic Food Group in 2001. Southern Classic now has about 200 employees and a product line of 700. Potential employment at Magnolia Vegetable Processors is 60.
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