The course aims at developing advanced competence when it comes to critical research traditions related to post-colonial studies, for example Orientalism and Occidentalism critique, theories of nation and identities, migrancy and transnationalism. Students will also acquire competence in analyzing the links between globalization processes and ethnical dimensions within and between nations and regions. The role of safety for journalists covering war and conflicts is central to the course.
For the main assessment, the students may choose one of two term papers.
A term paper of 15-18 pages, 1,5. line space, Times New Roman size 12, within the thematic field of the course.
A reportage selecting a topic within the general framework of the course. The reportage has to be developed either in digital or print format (5-6 pp. plus photos), radio (7-8 minutes), TV (4 minutes) or photo (approximately 8 photos) followed by a reflection paper, 5-8 pages, discussing the textual material on a theoretical level helped by the course syllabus.
Both alternatives may be written in either English or Norwegian.
The exam will be assessed according to a grading scale where A (highest) and E (lowest) denote a pass and F denotes a fail.
Assessment is done by an examination committee with one internal and one external examiner.
A bachelor-s degree or equivalent. The minimum academic requirement for admission is the grade C, in accordance with Regulations Relating to Admission to Master's Degree Programmes at HiOA.


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SDCC 2018: Star Wars Publishing Panel – The Reading List
I didn't expect Lucasfilm to have a massive presence at San Diego Comic Con this year because Star Wars Celebration is right around the corner. However, Lucasfilm used the presence it had wisely. In addition to the surprise announcement that Star Wars: The Clone Wars will return for one last season, Lucasfilm delivered some exciting news on the publishing front. Since the Disney acquisition, Lucasfilm has used its comics and books to reinvent the Star Wars universe and to set the stage for upcoming films and animated releases. The 2018 publishing panel lets us know that this strategy is alive and well, as Lucasfilm's Creative Director, Michael Siglain, walked the crowd though dozens of upcoming releases catering to every age range. Here are the projects that grabbed my attention:
Star Wars: Thrawn Alliances
Timothy Zahn
Timothy Zahn's Grand Admiral Thrawn is one of the most celebrated creations from the Star Wars Legacy universe. Bringing him back to canon was a great fan service and clever way to tease whatever Lucasfilm has planned for "The Unknown Regions," of the galaxy. Zahn's first novel, Star Wars: Thrawn was a re-telling of Thrawn's origins. This follow-up novel sends Thrawn on a mission into "The Unknown Regions" with Darth Vader. We've already seen how much plotting and manipulation exists between Palpatine and Vader in the remarkable novel Star Wars: Lords of the Sith. Adding Thrawn to the mix creates a test of wills unlike any we've ever seen. We all know Palpatine will be the winner of this contest, but it's going to be a wild ride getting there. This novel could also have far-reaching implications for the post-Skywalker era. This a must-read for the second half of this year.
Star Wars: Lando's Luck
Justina Ireland
Lando is experiencing a much-desired resurgence in the Star Wars universe, thanks to the Donald Glover's show-stealing performance in Solo: A Star Wars Story. Now, fresh off the heels of a second Marvel Comics limited series and Daniel Jose Older's Han/Lando buddy-caper Star Wars: Last Shot, comes Lando's first solo novel, Star Wars: Lando's Luck. This novel is a part of the "Flight of the Falcon" series, which is written for middle grade audiences, and focuses on Lando's and L3-37's adventures aboard the Millennium Falcon. Despite the target audience, I'm excited to see another story featuring Lando and L3-37. Honestly, Lando and L3-37 was the relationship in Solo that amused me the most. I'm also a fan of Justina Ireland both as a writer and as a person, so I'll be picking this one up.
"Fortress Vader"
There's no such thing as too much Darth Vader. Fortunately, Marvel Comics has made it a priority to give us all the Vader we've ever wanted. Despite having the unenviable task of following-up Kieron Gillen's first volume of Star Wars: Darth Vader, Charles Soule has proven that he is more than capable of giving us solid stories about The Dark Lord. Soule's run is all about Vader becoming Vader, so it was only a matter of time before he gave us what we've been waiting on since Rogue One: the story of how Darth Vader got his castle. This is set to be the next major arc of Star Wars: Darth Vader. If you haven't started the second volume of this comic, you might want to start now.
Star Wars: Women of the Galaxy
Amy Ratcliffe
This book is a coffee-table companion, which automatically makes me want to buy it. Author Amy Ratcliffe takes us on a journey through the lives of 75 female characters from the movies, animation, comics, and novels. This book will feature over 100 illustrations from women and non-binary artists and it will be loaded with little-known facts about familiar characters. I'm a fan of Lucasfilm's increased focus on women across the franchise, and I love companion books. Star Wars: Women of the Galaxy looks like it will be a great addition to any bookcase.
Star Wars: Queen's Shadow
Release Date: 3/5/19
Despite being criminally underused in the Star Wars prequel trilogy, Padme' Amidala maintains a strong and vocal fan following. With the upcoming novel Queen's Shadow, E.K. Johnston hopes to redeem and reframe the character. This novel follows Padme's transition from Queen of Naboo to Republic Senator and aims to give us a more personal spin on Galactic politics. What I am particularly interested in is the role the cult-favorite Naboo Royal Handmaidens will play in the story. We've seen The Handmaidens serve as decoys in the films, but we haven't seen them demonstrate their fabled combat skills. Though I thought Johnston delivered an uneven novel in Star Wars: Ahsoka, the last act was good enough to make me think this one is worth a shot.
Finally, here is the novel that has me the most excited:
Star Wars: Master & Apprentice
Release Date: 2/26/19
I can't speak highly enough about Claudia Gray's work with Star Wars. Gray is the single most important writer in the Star Wars Expanded Universe today. She has done a masterful job at breathing new life into revered characters and familiar stories. Her first novel, Star Wars: Lost Stars, retold the original Star Wars trilogy from the eyes of two star-crossed Imperial cadets. Her two Leia-centric novels, Star Wars: Leia, Princess of Alderaan and Star Wars: Bloodlines, gave us both the rise of The Rebellion and the fall of The New Republic as experienced by Leia Organa. This time, she's taking on one of the biggest mysteries in Star Wars: Obi-Wan Kenobi's youth. Star Wars: Master & Apprentice is all about the relationship between Obi-Wan and his master, Qui-Gon Jinn. Obi-Wan fans have been waiting for the new expanded universe to focus on Kenobi. Who better than Claudia Gray to give us this story? If a Kenobi film is really in the works, Gray will deliver the perfect novel to prepare us for it.
Lucasfilm has done a remarkable job pushing the limits of Star Wars through the printed word, and these new titles suggest that the best is yet to come. If you haven't read any of the existing novels, I'd highly recommend picking up a few novels. Again, anything by Claudia Gray is a must read. Stay tuned to MTR Network to get our impressions of the titles listed above as they are released.
Follow more of our San Diego Comic-Con 2018 Footage from our Comic-Con Central Page: https://www.MTRNetwork.Net/comic-con-central/
MTRNetwork
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Black Panther Spotlight, MTR TV, Video Reviews
Wakanda Forever! – Black Panther Review – All Hype or Best Comic Book Movie of ...
Black Panther Spotlight, DC, Marvel
Character Corner: Black Female Comic Book Characters

redpajama_set_name: RedPajamaCommonCrawl


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Q: Is it possible to customize Recaptcha image language? Is it possible to customize Recaptcha to display text in English only words?
As recently, I found that text could be displayed in other language like Hebrew.
Here is example:

To be honest it is not possible to type such words for ordinary users having keyboard with Roman alphabet and not many know that image can be redrawn.

A: Have you looked at: http://code.google.com/apis/recaptcha/docs/customization.html#i18n?
That's the API. It talks about setting the translation, but I've never used it, so I'm not 100% sure whether it can do what you want.
Due to where Recaptcha gets its captcha string from (text scanned from books), it could very well be limited to languages that use the Latin alphabet.
I bet that Reviled is the challenge word (the one scanned from the book) and the other is the test word (the one it uses to verify whether or not the person who typed the challenge word is actually typing something legitimate or not).

A: AFAIK, via the API you may only customize the interface, not the images.
reCAPTCHA uses scans from the real books, so sometimes, even in latin books there are some non latin characters too.
But there should be no problem here. reCAPTCHA displays always two words: one unknown even for the reCAPTCHA (probably the Hebrew in this case), and the other one, which is really checked.
So the user may misspell the Hebrew, but it's OK when he types the other one (latin) word as expected.
(Only guesses, but I think that's how this thing works).

redpajama_set_name: RedPajamaStackExchange


View cart "Morpho Butterfly" has been added to your cart.
This is a beautiful necklace of blue and purple semi-precious gems (faceted blue topaz, iolite and amethysts set in a butterfly and Mother of Pearl flower) and faceted inky blue tourmaline in the centre of a silver floral disc overlaying a large Mother of Pearl disc.
Supporting stones are amethyst crystal slice, amethyst disc, lapis lazuli disc and faceted moonstone set in sterling silver.
Jane Magon's love affair with the Morpho butterfly began as a child. Many times Jane would be playing in her tropical garden in Port Moresby, PNG when the beautiful Morpho butterflies would 'dance' in the air past her.
Morpho butterflies originate in many tropical countries near the equator and have remained as an inspiration to her to this very day. Jane associates their colours as iridescent versions of turquoise, tanzanite and sapphire and are amongst her favourite colours.
My love affair with the Morpho butterfly began as a child. Many times I would be playing in our tropical garden in Port Moresby when the beautiful Morpho butterflies would 'dance' in the air past me. Morpho butterflies originate in many tropical countries near the equator.
They have remained as an inspiration for me to this very day (where I associate these colours as iridescent versions of turquoise, tanzanite and sapphire) and are amongst my favourite colours.
In other cultures and periods of history, particularly Victorian England and Chinese culture, butterfly wings were set into gold and silver jewellery as if they were gems.
I found it fascinating, enchanting and a little sad. However many cultures see the butterfly as a symbol, young love, eternal love – even of rebirth.


Need to print some odd sizes photos like I did today? If so Odd Prints is your friend. Really simple to go through and organised the 4cm square and 4×6.5cm prints I need to fill the photo clock I received as a present.


PROMATION offers two different styles of hand assembly stations. One is a power drive edge carry system and the other is a manual push rail set station.
The EAC series utilizes our steel roller chain (3 mm contact) and pneumatic stops to progressive index PCBs or pallets down the line for hand assembly of components.
Each section is generally 1 meter in length and provides an Audit-Bypass selector switch, ESD ground plug, and hand Release button for each operator. Overhead lighting, adjustable part shelf and foot rest bar are included.
The PRO-HAL series is a modular station that may be configured to create whatever line length is desired. This manual push hand assembly solution provides a cost effective method to insert components than manually push the PCB or pallet to the next operator. ESD ground point, part bin rails and overhead lighting is standard.


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title: 'Tamponatura Manuale'
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Artlab è un azienda che offre una gamma completa di lavorazioni su pelle, in particolare quelle manuali dove siamo in grado di realizzare dalle tamponature classiche, ad invecchiature vintage, gocciolature, spennellature, graffiature e molto altro in modo da creare articoli unici nel loro genere.

redpajama_set_name: RedPajamaGithub


In 2019 retailers should focus on digitising the store via mobile technology if they want to win the customer experience battle.
Making predictions is always a risky move, but it is safe to say retailers should focus on one specific trend that is essential to prioritise in 2019; that is to create digitally enabled physical stores by implementing the right mobile technology in the space between physical and digital shops.
When it comes to implementing technology across shops, retailers can often find it difficult to know where to start. This usually ends with either a piecemeal approach that does not fit the wider business strategy or excessive amounts of money being invested in only one type of technology.
Forward-thinking retailers should focus on building a robust mobile technology platform. With the right device and device management solution, this platform will become the foundation on which retailers bridge the gap between their offline and online commerce.
Despite many market commentators predicting a future with fewer physical stores, this is not an outcome that is going unchallenged. There is already some exciting work being done by retailers around the world, relying on making the most of the intersection between walk-in and digital spaces.
One example is taking photographs of customers in store that are then used to overlay merchandise such as clothes and glasses displayed on mobile devices. Another is being able to provide skin analysis apps that offer personalised recommendations to customers buying beauty products.
Physical and digital platforms both offer something the other can't, so integrating the best of both will help provide an outstanding shopping experience. The most successful retailers in 2019 will be those that enable their employees to provide the best interactions for customers.
The need for a solid mobile technology platform to build this blended retail world is essential. With new technologies and functionalities constantly emerging, retailers will be able to easily roll out new features on the managed devices across shops through a robust MDM programme.
Having such a programme, retailers will become more flexible and agile to evolve, which will eventually help win over customers.
Many editorials this time last year were predicting the death of the high street, but these were clearly off the mark.
What the industry has seen instead is the move towards a new digitally enabled physical space. Next year this trend will continue, but it won't be for every retailer – only the ones best prepared with the right mobile technology platform will succeed.
JamfJamf, the standard for Apple management, is committed to enabling IT to empower end users and bring the legendary Apple experience to enterprises and retail organisations via its Jamf Pro, Jamf Now and Jamf Connect products.


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Svartelder - Pyres Digi-CD
(Digipack CD) Norwegian Black Metallers SVARTELDER, whose lineup comprises members of CARPATHIAN FOREST, NORDJEVEL, IN THE WOODS… DEN SAAKALDTE, PANTHEON I, OLD FOREST and Doedsvangr, have released the long acclaimed debut full length album titled "Pyres". The artwork has been done by Khaos Diktator (ARDITI, NORDJEVEL, HORNA etc) #### Recorded in Norway at the Woodscave Studio. and mastered by WSL Studio in France, "Pyres" is the follow up to SVARTELDER's "Askebundet" EP, which hit the streets last year, also on Dusktone as well. #### Aside from founder and frontman Doedsadmiral SVARTELDER's lineup comprises of Maletoth on bass and guitars, AK-47 on drums, and Kobold on keys. There is no doubt that the band's sound is firmly rooted in black metal, but SVARTELDER's strength lies in the fact that not only is its lineup vastly experienced, it is also able to draw that experience from a variety of different musical backgrounds and influences. And this is something that allows the band to mix different elements together, bringing a fresher, more varied, approach to the overall sound.


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Ladacor Completes Shipping Container-Based Four-Story Modular Studio 6 Hotel
Ladacor Ltd. Dec 03, 2016
CALGARY, Dec. 2, 2016 - Ladacor today announced the official opening of the Studio 6 Extended Stay Hotel in Bruderheim, Alberta following construction utilizing Ladacor's Advanced Modular System™ building technology, making it one of the largest and tallest shipping container-based modular hotels in North America.
Ladacor's AMS™ technology repurposes surplus shipping containers into highly engineered, durable, non-combustible, code compliant modular units that meet CSA A277 standards. "We are very proud to be selected to participate in this project as module supplier and general contractor", said Rhys Kane, Ladacor Director of Business Development, "we have incorporated a very high degree of modularization to make the project more efficient, including full four-story height modular elevators and stairwells and a modular roof."
Boris Javorski, partner in the hotel ownership, commented, "The Ladacor modular building technology offered a durable steel building with a fast-track construction schedule at a competitive turn-key price. The end product is of excellent quality and the building is indistinguishable from conventional construction." Javorski went on to comment that, "Hotel developers are searching for ways to increase rates of return, and the expedited schedule of the Ladacor construction technique makes this an attractive option. It's incredible that repurposed shipping containers can be remodeled in such a way to meet stringent hotel design brand standards. It's a testament to the ingenuity of the Ladacor technology."
The Mayor of Bruderheim, Karl Hauch, added, "We are very happy to welcome the Studio 6 hotel to our community. Ladacor has worked closely with the Town to deliver an outstanding project with limited disruption due to their innovative modular construction technique."
The new hotel offers 63-rooms all with kitchenettes, a lounge area, fitness room and large meeting room.
Ladacor are currently working on a seniors housing complex in Northern Alberta, an affordable housing rental building in Edmonton, along with other multi-family housing, first-nations housing and other motels and hotels.
About Ladacor
Ladacor is a Calgary, AB based division of a privately held Canadian corporation, a leading turn-key design-builder of permanent modular buildings.
Ladacor has developed proprietary technology and specialty expertise in the utilization of surplus sea shipping containers for innovative modular buildings. The Advanced Modular System™ has been developed as a durable, non-combustible, CSA A277 approved, mold resistant, reusable and re-locatable, environmentally sustainable solution. Advanced Modular System™ units are customizable and configured to clients' unique requirements and application, easily deployable and erected in the field leading to cost and schedule savings and consistent shop manufactured quality.
Ladacor has the ability to offer a full turn-key project – from concept development to engineering design to module fabrication to site construction – or any scope of work in between.
SOURCE Ladacor Ltd.
CONTACT: Please visit www.ladacor.com for more information.
Web Site: www.ladacor.com


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Business Lobby Tries to Frighten America About Clean Energy, Fails Utterly
Will President Obama's plan to regulate power plants, due to come out Monday, hurt him and his party? Not long ago I wrote a column arguing that they would. Yesterday the U.S. Chamber of Commerce released a new study claiming that the regulations "will generate substantial adverse economic impacts in the United States." Now I'm revising my belief. The Chamber has generated the scariest-sounding estimate it could come up with, and it still isn't very scary at all.
Naturally, in keeping with the energy industry's cherished tradition of predicting far higher costs of new regulations than the actual result, the Chamber's study makes deeply pessimistic assumptions about the cost of regulating carbon emissions from power plants. For reference, a study by Resources for the Future, a respected environmental think-tank, found negligible costs. The Chamber study represents the alarmist poll of the debate, generated as attack-ad fodder.
The Chamber study employs a couple easily spotted gimmicks. It assumes demand for electricity, which has grown 0.7 percent a year since 2000, and which the U.S. Energy Information Administration projects to grow at 0.9 percent a year through 2040, will grow at a 1.4 percent annual rate. That assumption would make any reduction all the more expensive to achieve.
Second, it measures a far more ambitious plan than the administration is likely to propose. The administration has said it plans to hit the target it agreed to in the 2009 Copenhagen talks: a 17 percent reduction in greenhouse gasses from the 2005 level. This is a doable target. So instead the Chamber measures a much stricter target: a 42 percent reduction by 2030.
It is true that the administration has endorsed this other long-term goal as well. But the plan due to come out Monday is almost certainly not going to attempt to achieve it. The focus is on 2020 levels, which are the basis for the next round of international climate negotiations. The Chamber explains this decision with mock judiciousness: "The 42% emissions reduction figure was chosen because, to date, it remains the only publicly announced Administration GHG reduction goal for 2030." That's true! But to measure a plan that's designed to meet 2020 targets, you don't need to look at 2030 targets at all.
The reason the study uses this trick becomes clear when you look at how its projected costs break down. The costs through 2020, represented by the bar on the left, are really low. It's only in the years after 2020 — when the study starts adding up costs for much stricter limits than Obama is actually going to propose — that the numbers start to pile up:
The longer-term measure is not just harder to achieve, it's harder to measure. Higher standards drive better technological changes from the private sector. Attempting to measure the cost of meeting higher standards two decades down the road with only currently available technology is guesswork. "A model today can only accommodate technology available today, not technology that is just around the corner," says Dallas Burtraw, an economist at RFF, "Hence I feel forecasts that run a decade out are useful, but decreasingly so beyond that point."
Even so, while the study uses lots of impressive adjectives to describe the size of the cost it predicts, the numbers are pretty meager. It predicts the regulations will increase electricity costs by $17 billion a year. Scared? Keep in mind electricity costs about $350 billion a year, which would mean the Chamber is predicting a one-time hike in electricity bills on the order of 5 percent a year. For the average American, that's about $100 a year in his electric bill.
Even the Chamber's unrealistically dire number is still low enough that most people would barely notice it. (For perspective, a poll found that the average American would spend $162 a year for cleaner energy.) Adele Morris, a Brookings Institute climate economist, told me, "If they were going to make up numbers, I'd assume they'd have made up bigger ones."
The study's bad faith is made abundantly clear in its conclusion, which announces that regulating power plants will still eliminate "a mere 1.8% of global CO2 emissions." The assumption, in other words, is that nothing the United States does to limit its carbon emissions will impact the amount that other countries emit: "Regardless of the national emissions reduction policies modeled in the [proposed regulations], and the adverse economic impacts resulting therefrom, global CO2 emissions – both in the power sector and overall – will continue to grow rapidly."
But that is not an inflated assumption, it's a completely absurd one. The Chamber is assuming Obama's plan is to impose costly energy restrictions on itself, and continue to tighten those restrictions year after year, while every other country in the world does nothing at all to limit greenhouse gases. That would be an incredibly stupid plan. Nobody is willing to do that. The whole point of reducing U.S. emissions is to meet targets needed to forge an international agreement.
The premise of the Chamber's study is that global emissions lie completely outside of American influence, so we might as well use all the dirty energy we can and let future generations deal with it. Against that backdrop, any program to reduce carbon pollution, however efficiently designed, is a pointless waste. But what the Chamber is actually demonstrating, in its attempts to frighten us, is that we hardly have anything to fear.
JONATHAN CHAIT is a Writer for New York Magazine.
This article originally appeared in New York Magazine.


This exercise is a fun one. You can use the displacements of accents to imply a modulated time. You will start out by accenting the downbeat. Then you will start to accent every third hi-hat. Eventually you will start to imply the modulation by playing the bass and snare along with accents. Make sure you always feel the downbeat pulse. Use a metronome to help you out. You can use tools like this to change moods or play tricks on listening ears. This will also help your time and your ear. You can experiment with different groupings to imply different times.


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Where to celebrate Cinco De Mayo 2018 at Dallas restaurants and bars
Bacon Is So Over
Pork-obsessed Italian restaurant in Dallas closes after 6 months
Where to eat in Dallas right now: 8 hot new restaurants to check out
Newness happening in Uptown. Photo courtesy of Sixty Vines
Spring is a time for new things to flourish, and that includes Dallas restaurants. Recent openings feature new barbecue, new biscuits, new pizza, and new sushi.
Here are 8 hot new restaurants in Dallas right now:
The Biscuit Bar
Founded by husband-and-wife Jake and Janie Burkett, The Biscuit Bar is a fast-casual Southern concept newly opened in Plano that does biscuits, biscuit sandwiches, tater tots, and sweet potato tater tots. There's also a full bar with beer and cocktails. Menu favorites include The Hoss, named after Janie's father, made with fried chicken, bacon, jack/cheddar, honey butter, and sausage gravy; and the BBar burger, which is a burger on a biscuit. There's also a chicken biscuit, and the "FABB," which has fig, arugula, and bacon. "Nanner Puddin" has bananas, vanilla pudding, 'Nilla wafers, and whipped cream.
Carlton Provisions
Barbecue stall at Plano food hall Legacy Hall is from Chili's founder Larry Lavine and Jordan Swim of Vestals Catering. It is the only food stall operating in the Box Garden, the outdoor patio and entertainment venue. Their menu includes brisket, pastrami, five-hour ribs, and turkey. Sides include bacon-wrapped stuffed jalapenos, french fries, apple-fennel cole slaw, poblano creamed corn, and beans. Desserts include a trio of puddings — banana, coconut, and chocolate — plus cookies, seasonal cobblers, and pies.
MidiCi
Pizza chain based in Los Angeles does Neapolitan pizza in an upscale atmosphere, but with the affordability of a casual restaurant concept. Unique options include chicken pesto, truffle and vegetable, and bacon and egg. They also serve appetizers, salads, and gelato. The Dallas location is in West Village, next to Cru Wine Bar in a space that was previously Lemon Bar and Lazare.
Nature's Plate
Vegan/plant-based "meals to go" company opens its second Dallas location at Preston Forest Square, at the southwest corner of Preston and Forest roads. Offerings are 100% vegan with many gluten-, soy-, and nut-free options. There's a yummy BBQ plate with BBQ-baked tofu, mashed potatoes, and broccoli; a buffalo chickpea wrap with a spicy mix of chickpeas, veggies, and hot sauce, combined with Romaine lettuce and carrots in a whole grain wrap, served with house-made ranch dressing; and spaghetti and "meatballs," with whole wheat spaghetti, bean- and nut-based "meatballs," and a savory mushroom marinara sauce.
Original ChopShop
Arizona-born healthy restaurant chain opened its first DFW location in Las Colinas, the seventh location overall and the firsht outside Phoenix. Protein bowls are a core component of the menu; the most popular is the teriyaki chicken bowl, which can be served with superfood forbidden rice, brown rice, or sweet potato hash. Three more locations are coming to the Dallas area in 2018, including two locations in Plano and one at The Hill, at Walnut Hill Lane and US 75.
Petro Tower Grill
Restaurant and bar in the Cambria Dallas Downtown hotel on the first floor of the historic Tower Petroleum Building is aimed at travelers and local business people. Open daily for breakfast, lunch, and dinner, the restaurant serves burgers, filet mignon, tortilla-crusted salmon, and pasta primavera. A daily happy hour runs from 5-7 pm, with cocktails and shareable plates such as sliders, flatbreads, a charcuterie board, wine, and beers.
Sixty Vines
Classy pizzeria took over the former Palomino Euro Bistro space at Crescent Court, where it features an indoor/outdoor design with grape vines, wine barrels, and harvest tools creating an ambience similar to a vineyard tasting room. There's an extensive selection of wines on tap, and a "wine country" cuisine. Menu items include shared items such as oysters, hummus, and meatballs. There are charcuterie boards, salads, pastas, burgers, steaks, avocado toasts, and last but not least, exceptional pizza.
SushiFork
SushiFork is in the hot college zone of SMU Boulevard east of US 75, in the space that used to be World of Beer, and Verts Mediterranean Grill. Opening in mid-May, the menu features standard rolls such as the California roll with krab (not crab), cucumber, and avocado; and a Philly with smoked salmon and cream cheese. They also have a create-your-own option, where you choose your protein, fillings, and toppings. Most rolls are $5 — making this a good option for the student population nearby or anyone who likes cheap sushi. SushiFork also offers the currently-trending sushi burrito, a cross between a sushi roll and a burrito.


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Lesmes de Basterrica (San Sebastián, España, 1807 – Montevideo, 1881) militar uruguayo nacido en España, perteneciente al Partido Blanco.

Con una amplia forja de servicios en España, se radicó en Uruguay, durante la Guerra Grande y se vinculó al gobierno del Cerrito. Segundo jefe del batallón Voluntarios de Oribe, fue edecán del presidente, con el grado de teniente coronel. Apoyó el Pacto de la Unión en 1855. Fue edecán del gobierno durante la presidencia de Bernardo Prudencio Berro y Anastasio Aguirre le dio el grado de general. No reconocido por el gobierno de Venancio Flores, luego de que este, tomara el poder del país, por su sublevación armada. Dado de baja tras el levantamiento de febrero de 1868. Se exilió en Argentina, e invadió el país junto a Anacleto Medina en 1870, al estallar la Revolución de las Lanzas, donde resultó gravemente herido. Al producirse la paz de abril (1872) reingreso al Ejército y fue ascendido a general en 1875.

Coroneles de Uruguay
Militares del partido Nacional (Uruguay)
Emigrantes españoles hacia Uruguay
Revolución de las Lanzas
Nacidos en San Sebastián

redpajama_set_name: RedPajamaWikipedia


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Movements, Styles, and Tendencies Nihonga Art Works
Nihonga Artworks
Artworks and Artists of Nihonga
The below artworks are the most important in Nihonga - that both overview the major ideas of the movement, and highlight the greatest achievements by each artist in Nihonga. Don't forget to visit the artist overview pages of the artists that interest you.
Hibo Kannon (c. 1883)
By: Kanō Hōgai
This signature work depicts Kannon, an androgynous Japanese god who embodied loving compassion, and who was called Kuan-Yin by the Chinese and Avaklokitesvara by the Buddhists. The figure, standing on a cloud, fills the upper right of the painting and looks down upon a child floating in an orb who looks back, returning his gaze. The overall effect is of graceful harmony, accentuated by the swirling forms of the clouds, the folds of Kannon's robes, the red coil that like an umbilical cord wraps around the child, and reaches down into the depths of rocks. The halos of the two figures create a kind of visual diagonal between lower left and upper right, emphasizing the connection between the two as sacred sources of illumination, further emphasized by the subtle oval that extends upward from Kannon's feet, like a wide beam of light. The precise lines of the painting ground the subject within a space that could be in the sky looking down upon the rocky pinnacle of a mountain, underwater in a golden sea, or, as if in inner contemplation, looking into the Pure Land of Buddhism.
Hōgai used the Kanô School's traditional mineral pigment and ink on a gold background to convey a traditional subject, but his treatment is innovative. By including the child, he depicted Kannon untraditionally, perhaps influenced by the Western depiction of the Madonna, and wanting to create an image that would appeal to both Asian and European audiences. He also adopted a more realistic treatment of the figures, with shading to create a sense of depth. A reproduction of the painting was included in an early issue of Kokka, and the painting was prominently exhibited at the 1883 Paris Salon to critical acclaim. It became one of the artist's most favored works, and he was to make a second version for Tokyo University of the Arts where it has been designated as an Important Cultural Property of Japan. The art historian Chelsea Foxwell noted that Hogai's work exemplified "a break from the past while at the same time upholding a connection to it."
Dragon Against Tiger (1899)
By: Hashimoto Gahō
This painting on silk focuses on the encounter between a powerful tiger, standing on a rocky crag, and a dragon that energetically takes form in serpentine curls borne of the clouds. A contrast between the elements of earth and air is conveyed, as the sold forms of the jagged rocks echo the lines of the crouching tiger and the dragon's fluid arabesques swirl up like white, golden tinged flames. The work is also equally divided between the two creatures, both mythical symbols of Japanese culture, the tiger often associated with earthly kings and the dragon with the Emperor of Heaven. Only the white foaming encroachment of waves cast up by the dragon upon the rocks breaks the almost equal symmetry between the two realms, suggesting the primacy of heaven.
Gahō's work drew upon the Kanô tradition's frequent depictions of two powerful and symbolic creatures connected to the concepts of ruler ship, and the use of strongly outlined forms. Nonetheless, he also adopted Western elements, as shown in the naturalistic treatment of the tiger, and the work's depth, as seen in the distance that opens behind the dramatic scene, its negative space informed by a sense of Western atmospherics. Influenced by European Realism, his work made a convincing argument to later artists that such elements incorporated into Nihonga made the traditional style all the more compelling. As art critic Michael Sullivan wrote. Gahō's "brilliant synthesis of Kano style and technique with Western realism created a model for painters at an early stage in the Nihonga movement."
Ochiba (Fallen Leaves) (1909)
By: Shunsō Hishida
Each of these images depicts a six paneled byobu, or folding screen, a traditional Japanese format for painting landscape. Usually these two panels are shown together, as an intended pair, and the panel in the upper image is displayed on the right. In the top image, a small pine stands to the left of the curving trunks and branches of a small grove. The bottom image holds a sapling topped with a profusion of gold and brown leaves on the left with a grove of sparsely spaced trees behind it. In both images the russet and gold leaves that have fallen in the foreground create horizontal movement around the base of the trees, drawing the viewer's eye to the space that opens into the distance. Precisely rendered, the groves are diffused with a glowing light that creates the atmospherics of the autumnal season.
To achieve the work's luminosity, the artist used the karabake technique of dripping pigment onto an already wet surface, and then worked the pigment with a dry brush. The technique, evolved from classical sumi ink painting and calligraphy, allowed the artist to create a thin but radiant layer of color. Overall, this work exemplified Hishida's later style of luminous naturalism.
Serving Girl at a Spa (1918)
By: Tsuchida Bakusen
This four paneled work on silk portrays the spreading boughs of a pine forest, viewed as if from above, inhabited on the left by a single bird perched on a branch above the white cone shaped clusters of flowers. On the right a woman in a red robe, falling open at her breasts, reclines on an upper floor balcony, her left hand reaching up as if to touch her heart in response to her thoughts and the music, which is being played by a partially visible musician in the upper right. The sensuality and luxury of the scene is emphasized by the curving lines of the vibrant green boughs that echo and curve toward the woman's form.
In his desire to find new possibilities for Nihonga, Bakusen juxtaposed different Japanese styles with a Western influence, as seen in this work's treatment of the landscape taken from Heian period painting, the pines reflecting the influence of the Momoyama period's wall paintings, and the woman's odalisque form evoking a Western influence. The painting was exhibited by the National Creative Painting Association's show, as Bakusen was part of the group of artists who wished to challenge the official government show, the Bunten, with innovative works.
Bakusen was one of the few artists whose work influenced both Nihonga and Yoga artists. His Island Women (1912), while classified as Nihonga, used broad areas of color and simplified forms, influenced by Paul Gauguin, Henri Matisse, and Primitivism. In 1910 Bakusen also helped found various avant-garde collectives and later the Society of the Creation of Japanese painting in 1919 where artists of both movements gathered and were invited to exhibit, reflecting Bakusen's view that "the creation of art must be practiced with complete freedom. As a result, he has been described by art historian John Szostak as among "the most adventurous and inventive" painters of his era.
Seisei ruten (1923)
By: Yokoyama Taikan
These monochromatic images, also known as Metempsychosis or The Wheel of Life depict two details of this iconic scroll that is more than 130 feet long, and painted in sumi, traditional Japanese ink, on silk. The top image shows a dragon in a turbulent sky, its head visible in center left, and its light-filled form extending behind it, across the lower center. The dragon's form echoes and intensifies the energy of the sky itself, surging with swirling clouds against the ink black background, and displays the artist's mastery of tonal gradations in ink. The lower image shows a river, rippling with curves that suggest its depth, flowing along the lower third of the image, while behind it a waterfall cascades down a steep rock face. The black diagonals of jagged rocks emphasize the spot where the waterfall's white vertical intersects with the rippling river. To the right out of an inky black landscape a stream curves into the river. Both images convey a sense of nature's monumental power, viewed from a contemplative serenity, created by the use of a wide-angled, aerial perspective.
In creating such a long scroll, Taikan used one of the oldest Japanese formats, much like the Genji Monogatari Emaki (Tale of the Genji Scroll) (c.1120-1140) that depicted scenes from a classical Japanese novel of the same name, which was almost 450 feet long. The artist adopted the format, reserved for works of fundamental importance to Japanese culture, to depict the wheel of life. This scroll depicts a varied landscape: quiet mountains thick with trees and deer, small villages and scenes of human activity, all connected by the element of water. Travelers and fishermen, groups of monkeys, and a pair of cormorants, populate the landscape. The overall effect is to convey the cycle of life, embodied and represented by the water cycle, flowing through the river, rising as mist, and falling again as rain, to reflect the Buddhist concept of existence as a cycle of rebirth. Water was believed to be the most powerful of the four sacred elements, and its eternal presence, changing in metempsychosis through different forms, is the central preoccupation of the work.
In creating the scroll, Taikan used katabokashi, a Japanese ink technique that had a similar effect to Western chiaroscuro. The work, an Important Cultural Property, was acclaimed as a masterpiece at its first exhibition in 1923. The noted collector and founder of the Adachi Museum of Art Adachi Zenko wrote, "it is Taikan who stands out in terms of quantity and quality...His engagement in life's challenges with energy and a truth-seeking spirit give his works power, depth, and compositional integrity...such a painter comes along only once every 100 years, or even 300 years."
Tabby Cat (1924)
By: Takeuchi Seihō
Only a tabby cat, turning its green eyes to the viewer as it reaches back to groom its right flank, occupies this work, using a background of varying muted gold tones. Depicted in soft glowing shades of brown and grey, outlined at its top shoulder and front paw in white, the cat is both remarkably realistic and atmospheric in its treatment of colors. The cat is caught as if in movement, unconcerned with its surroundings, though the intensity of its gaze gives the somewhat humorous pose a kind of intense dignity.
Seihō was a leading master of Kyoto Nihonga, primarily known for his portrayals of animals and landscapes, though works like this one, showing a domestic cat, also draw upon the popularity of Ukiyo-e prints which had often featured images of cats, like Utagawa Kuniyoshi's Cats Suggested as the Fifty-three Stations of the Tōkaidō (1850).
Seihō was also a noted teacher to students including Tokuoka Shinsen and Uemura Shōen. His work brought a Western naturalistic sense of observation to his subjects while at the same time used Japanese reduced elements, negative space, and broad areas of subtly varying color.
Still Life - Salmon Slices and Sardines (1924)
This still life has a delicate asymmetrical balance between the bowl of sardines and two slices of red salmon filling up the left, and the five sardines on the right, their horizontal lines interrupted by one sardine creating a diagonal, and the round earthenware teapot in the upper right of center. Curves contrasting with lines and the red punctuating a grey, black, and white palette, all create a sense of vibrant spontaneity, as the balance between them creates a feeling of serenity.
Tsuchida Bakusen began as a Buddhist monk. While he was to abandon that path in favor of painting, studying under Seiho Takeuchi and attending Kyoto Municipal Painting College, his work was continually informed by Buddhist principles and values. He has said of his artistic philosophy, "Simply deepen the spirit and realize nature's inspirations." He was also interested in combining a more modern sensibility with Nihonga. While heavily influenced by Japanese genre works and early Buddhist painting, he also studied the Post-Impressionists and other European artists.
Enbu (Dancing in the Flames) (1925)
By: Gyoshū Hayami
This painting, showing a number of brightly colored moths dancing in the fire, dynamically depicts the swirling, glowing flames as they rise up, creating a kind of luminous form. He has painted the moths as if facing the viewer while blurring their wings to create an effect of dancing, and both the moths, as transitory beings, and the flame itself take on a deeply symbolic meaning. The image embodies the Buddha's well-known Fire Sermon that states, "all is burning... burning with birth, aging and death, with sorrows, with lamentations, with pains, with griefs, with despairs."
During a summer stay in the country with his family, Gyoshû observed and sketched the moths that were attracted to the evening's bonfire. He was a pioneer of new treatments in Nihonga and often adopted new styles throughout his career. This, his most famous painting, is informed by ancient Buddhist paintings of flames but also derived from naturalistic observation, as seen in the curling fractals at the edge of the flames. The work was the first of its era to be designated an Important Cultural Property and has been widely reproduced, including as a government postage stamp.
Artwork Images
Sazanami (Ripples) (1932)
By: Fukuda Heihachiro
This double panel image on silk deploys irregular lines of dark blue on a silver surface to convey the rippling patterns of water. Despite the title, the work is abstract. The pattern intensifies as the blue lines become closer, creating a field of movement, darker in intensity, and overlapping near the top of the image.
From the beginning of his career Heihachiro often painted water scenes, and the story goes that one day while fishing, he noticed the ripples created on a lake by a breeze that was so gentle he could not feel it on his skin. Subsequently he began sketching to try and capture the changing ripples forming on the water. The viewpoint of the artist is implied in this work, as the relatively fewer ripples suggest the quieter waters near the shore intensifying to waves in the distance. The artist intended to paint the image on platinum on silk, but due to a processing mistake, gold leaf was applied to the silk, necessitating that the artist then apply the platinum on top of the gold. This created the subtle variation of color as seen here in the background, which enhances the abstract effect, as the color is not obviously associated with natural colors.
Shown at the Imperial Fine Arts Academy Exhibition, this painting met with critical controversy, primarily because of its abstract treatment. Yet, subsequently, the work has been re-evaluated and seen as highly innovative in Japanese painting for its pioneering use of abstraction. The first abstract Japanese works were woodblock prints, created by Kōshirō Onchi, a leader of the sōsaku-hanga, or creative prints movement that began in the early 1900s. However, abstraction in painting was a later development, as the art critic Matthew Larking noted "came into vogue during a reinvigorated period of the 1950s and '60s," though informed by an awareness of early forerunners like Heihachiro.
Feathered Snow (1944)
By: Shoen Uemura
This work, exemplifying the use of negative space as seen in the grey sky surrounding the figures sheltering under umbrellas in the left quadrant of the work, is also an iconic example of Uemura's bijin-ga work, where, she portrays beautiful women but in unexpected ways to convey their inner feeling. The young woman in the lower center of the painting leans forward, her beauty conveyed by the broad planes of green, the elegant pattern of her clothing, and her face as if it were lighting up the grey scene, all further emphasized by the diagonals of the black and gold pattern of her open umbrella. Behind her another young woman can be glimpsed under the white umbrella her pale face wrapped in blue. The feathered snow falls upon them, but what is conveyed is of being caught in nature's vastness and unpredictability, and how under the grey horizon and the falling snow and implied wind, one huddles into one's umbrella or clothing, shrinking to a more confined space, to stay warm. Uemura who was one of the few women artists in her times brings a sense of feeling to her portrayals of women, and in a sense, the scene here is subtly symbolic of the circumscribed space that women inhabited in the World War II world.
Peacock Displaying his Wings (1983)
By: Shoko Uemura
This work, depicting a peacock with a multiple eyed tail that overflows the pictorial space, exemplifies the Japanese traditional style by focusing on a single bird that inhabits a large area of yohaku, or negative space. The vibrant tones of green and gold become a kind of cloud that hovers between intense atmospherics and sharply defined points, like the v shapes at the outer edge of the bird's plumage. The white background lets the creature inhabit a kind of undefined space, a sense of visual meditation. In Japan the peacock was connected to Kannon, a god who looked upon the suffering of the world with loving compassion, as reflected in the bird's 'many-eyed' gaze.
Uemura was the son of Shoen Uemura and began drawing as a child. However, unlike his mother who was known for her bijinga, he preferred the genre of flower and bird paintings. He also emphasized the abstract play of color and negative space to make Japanese style works contemporaneous with Color Field painting. In his later works, an exaggerated sense of negative space, contrasted with vibrant color and a simplified object, in this case a single peacock, became, as art critic Matthew Larking wrote, "an opportunity for dialog with abstract color-field painting in variegated modulations of tone and color that also retained their representational function...[and] became psychological landscapes."
By: Hisashi Tenmyouya
This work shows two soccer players, both dressed as traditional samurai warriors, trying to gain control of the soccer ball. One player, is down on one knee with his back to the viewer and his gaze focused on the ball near his extended right knee, while the other player, wearing a black helmet with long curved horns, malevolently bears down, his leg cocked back to deliver a bruising kick that threatens the other player. The players, sharply outlined, are almost cutouts against the golden tiles of the background, and the naturalistic depiction of the figures and their movement is contrasted with the bold lines and colors of their uniforms.
What is conveyed most is a sense of ritualized action, as the combative competitiveness of soccer is paired with the samurai code of warfare, and a primal ferocity, conveyed by the emphasis on black helmet and its wearer's white-toothed snarl. In the upper right, a seal, encircled by a curving blue and purple dragon, evokes the traditional associations of Japanese scroll paintings, as the dragon hearkens back to a mythical creature revered in Japanese culture and identified with the Emperor. This work exemplifies Hisashi's concept of "Neo-Nihonga," seeking to connect the art movement to contemporary culture. This famous image was used as a poster for the 2006 World Cup in Barcelona. Critics have described him as a "punk samurai" due to what art historian Yumi Yamaguichi calls his "sophisticated grasp of both the ancient and the contemporary."
Scattered Deformities in the End (2007)
By: Fuyuko Matsui
This psychologically compelling image shows a nude woman, her skin flayed down her spine, as she flees, pursued by a dog that opens its jaws to bite her heel. Her black hair streaming out behind her is torn from her head by a flock of pursuing birds. Other birds are tearing a strip of flesh from under the woman's right arm, and her right leg, just above her ankle, has a band of flesh already torn from it, in the way that trees are girdled, a ring of bark taken from the trunk to kill the tree. The background is an atmospheric greenish grey with the suggestions of hands and birds reaching within it, while the top of the canvas darkens, revealing black lines of skeletal trees where pulses of color suggest the forms of more birds. The space the figure inhabits seems both interior, as if a closed room or within an interior consciousness, and exterior as if she were running outside on a street or path with a forest looming behind. The overall effect is to create a state like a bardo, one of the transitory spiritual stages of Buddhism between life and death, or a psychological setting of abjection and fear.
Matsui called her terrifying images "talismans," and described her artistic intent as "to visually express something that is usually felt physically." They are often seen as a kind of distanced self-portrait, within the hell realm, informed by a feminist sensibility in confronting the abjection and traumatic experience of a woman in patriarchal society. They reflect her belief that "if the paintings are horrible they might act as a protection," drawing upon the Japanese adage "to use demons to control demons." As the Japanese art critic Matsui Midori wrote, they are "paintings that express the pain of living."
Her work draws upon a variety of influences, including Soga Jasoku, a 15th-century artist, the tradition of Japanese ghost painting, and the Buddhist tradition of Rokudou-e, or images depicting the bardos. She has been compared to other psychologically compelled female artists such as Kiki Smith, Eva Hesse, and Shirin Neshat.
Shrine of the Water God (Suijingū) (2015)
By: Hiroshi Senju
This large screen, twenty-four feet long, contains twelve panels all luminously depicting waterfalls, the streams of white water lighting up a dark background. The lower part of the panels fill with water mist and the dark edge of an implied shore borders the pools into which the water cascades. The overall effect is almost photographic, and yet fluid, as if one were looking at water actually streaming behind a panel of glass.
Senju's work is unique in its scale and singular focus, and, as many of his works are large screens or installations, they become a way of transforming the relationship between human structures and the natural world. He presents a kind of sublime reality that involves the viewer's consciousness and the surface of the work, where tiny drops of paint can resemble mist and other slightly larger drops that reveal the paint's stroke blur the distinction between the subject of water and the materiality of paint. As art historian Rachel Baum has written, "These drips of paint interrupt the pictorial space and, insist, instead on the painted surface. The result of this contrast is...a transcendent synthesis of liquids...intricate, indexical correspondences of material, process, and image that create the paintings' unmistakable sense of unity...[and] make manifest the transience of experience."
Waterfall depictions have a long tradition in Japanese art, and early Nihonga artists like Takeuchi Seihō explored the subject, as seen in his Waterfall (1925). Senju began painting waterfalls in the early 1990s and his work has had a tremendous impact upon architectural and interior design, first coming to public attention in the 1995 Venice Biennale. The art critic David Kropit has described his work as having "exceptional clarity and presence."
Related Movements and Major Works
Under the Wave off Kanagawa (also known as The Great Wave) (c. 1830-32)
Movement: Ukiyo-e Japanese Prints
Artist: Katsushika Hokusai
This print, which is internationally recognized, depicts a great wave (the alternative title for this work is The Great Wave), painted in Hokusai's favored Prussian blue, its crest breaking in stylized depictions of white foam. The wave almost fills the left side of the canvas, and its curvilinear energy seems to threaten to engulf Mount Fuji. This engulfing effect is created by the artist's subtle use of perspective and his deploying a horizon posited in the lower third of the painting. Among the waves, a number of Japanese boats can be seen, their long curved forms, distinguished by their planes of contrasting color, echoing the lines of the waves. The scene has an impending energy, depicting the moment just before the wave breaks. Mount Fuji, the highest mountain in Japan, was traditionally felt to be a symbol of immortality, a totem of kami, but its diminished form here, as the wave towers above it, suggests that the idea of immortality is as transitory as the boats about to be swamped and torn apart.
Art curator Timothy Clark called One Hundred Views of Mount Fuji, from which the print was taken, as "one of the greatest illustrated books." The series was produced in three volumes and actually included 102 views of the mountain. It was produced at a time when Hokusai, who often changed his artist name, was calling himself Gakyō rōjin ("Old Man Crazy to Paint"), or Manji ("Ten Thousand Things", or "Everything"), showing his intent to create a comprehensive tour de force. Elements of Hokusai's work, innovatively varied and prolific, influenced countless European artists like Claude Monet who had a print of The Great Wave displayed at his home in Giverny. Paul Gauguin, Auguste Rodin, Edgar Degas, Gustave Klimt, Édouard Manet, Vincent van Gogh, and Franz Marc collected his prints. Degas was influenced by Hokusai's depiction of the human figure in non-posed and ordinary activity, while his curvilinear forms and wave-like compositions influenced the development of Art Nouveau.
Maternal Caress (1890-91)
Movement: Japonism
Movement: Japonism (Read Movement Overview, History, and Artworks pages)
Artist: Mary Cassatt (Read Full Artist Overview, Biography, and Artworks pages)
In 1890, after seeing the ukiyo-e prints at the École des Beaux-Arts in Paris, Cassatt began work on a series of ten color etchings, including this one, inspired by Kitagawa Utamaro's prints of ordinary moments in women's lives, such as Midnight: Mother and Sleepy Child (1790). Finding an analogue to her own paintings of domestic spaces, Cassatt explored the composition and flatness of the print medium. This work, with its empty foreground and simple background rendered in broad planes of color, emphasizes the figure of a young mother. The pattern of her white patterned and floral chair (a pattern continued in the wallpaper) contrast with the nude child she embraces, creating a play between two- and three-dimensional forms.
This compression of space is further emphasized by the cropping of the image, which limits the view to a series of repeating patterns. As a result, line and color become a focal point, underscoring the intimate relationship of mother and child. The curving outlines of the two figures in the chair, coupled with the variations of the limited color palette create a sense of harmony. Cassatt's subsequent masterpiece, The Child's Bath (1893) echoed this flattened pictorial space, limited palette, and emphasis on pattern to become nearly abstract in its geometry, demonstrating the importance of Japonism to her style.
Nude Beauty (1912)
Movement: Yōga
Artist: Yorozu Tetsugoro
A woman, nude from the waist up, reclines on a grassy hill with her left arm bent at the elbow behind her head, and her body turned sideways as her face turns toward the sky. The red boughs of trees frame either side of the high horizon at the top curve of the hill, where a colorful vista opens beneath a dark blue sky with a prominent pink cloud. Everything in the composition, the high horizon, color palette, simplified forms, and vertical lines of the grass that move like flames, draw the viewer's gaze upward to the woman's face. Portrayals of beautiful women were an important genre of ukiyo-e and Japanese painting, yet the nude sensuality of this figure and Fauvist hues drew upon the Western tradition.
The woman's pose echoes Henri Matisse's Blue Nude (1911) and the energetic lines reflect the influence of Vincent van Gogh. This painting launched Yorozu's career when he presented it for his thesis painting at the Tokyo Art School, and the dramatic color palette made this work controversial for its non-naturalistic treatment and sexuality. Displaying the rebelliousness against the academic status quo that permeated his career, the artist not only boycotted the exhibition of his work but also refused his graduating teacher's certificate. The work has been heralded as the first Japanese Fauve painting and a great influence on Japanese Fauvist Expressionism, as the art historian Matthew Larking wrote, making the artist "the most representative Japanese expressionist painter of his age."


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Q: Detect ios safari extension is enabled and allowed on all pages I am developing an iOS safari extension. Right after the installation and opening the container app, I would like to take the users to a page which shows instructions on how to enable the extension and allow it to run on all pages. Is there a way to detect the state of the extension?
So, the flow will be as: User opens the container app, and we take the user to a page on safari and depending on:
(1) if the extension is enabled
(2) if the extension is allowed to run on all pages
How can I detect these two states from the extension ?
Tried looking around if there is an API to detect so. Doesn't seem there to be one?


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White House insists fundamentals of US economy 'very strong'
With eyes on 2020, the White House insists the fundamentals of the US economy are 'very strong'
By ZEKE MILLER and JOSH BOAKAssociated Press
Counselor to the President Kellyanne Conway speaks to members of the media outside of the West Wing on the North Lawn of the White House in Washington, Wednesday, Aug. 7, 2019. AP Photo/Andrew Harnik
WASHINGTON — The "fundamentals" of the U.S. economy are solid, the White House asserted, invoking an ill-fated political declaration of a decade ago amid mounting concern that a recession could imperil President Donald Trump's reelection.
Exhibiting no such concern, senior adviser Kellyanne Conway declared to reporters on Monday, "The fact is, the fundamentals of our economy are very strong."
It's a phrase with a history. Republican John McCain was accused of being out of touch when he made a similar declaration during the 2008 presidential campaign just hours before investment bank Lehman Brothers filed for bankruptcy, setting off a stock market crash and global financial decline.
A case can be made for the White House position. The U.S. job market is setting records for low unemployment, and the economy has continued uninterrupted growth since Trump took office. But growth is slowing, stock markets have swung wildly in recent weeks on recession fears, and indicators in the housing and manufacturing sectors have given economists pause. A new survey Monday showed a big majority of economists expecting a downturn to hit by 2021 at the latest, according to a report from the National Association of Business Economics.
Trump begs to disagree.
"We're doing tremendously well. Our consumers are rich. I gave a tremendous tax cut and they're loaded up with money," Trump said on Sunday. "I don't think we're having a recession."
Still, the Republican president took to Twitter on Monday to urge the Federal Reserve to stimulate the economy by cutting interest rates and returning to "quantitative easing" of its monetary policy, an indication of deep anxiety beneath his administration's bravado. And he backtracked last week on taking the next step in escalating in his trade war with China, concerned that new tariffs on consumer goods could hamper the critical holiday shopping season.
White House aides and campaign advisers have been monitoring the recent turbulence in the financial markets and troubling indicators at home and around the world with concern for Trump's 2020 chances.
Any administration has to walk a fine line between reflecting the realities of the global financial situation and adopting its historical role as a cheerleader for the American economy. For Trump, striking that balance may be even more difficult than for most.
For decades, economic performance has proven to be a critical component of presidential job approval, and no American leader so much as Trump has tied his political fortunes to it. The celebrity businessman was elected in 2016 promising to reduce unemployment — a task at which he has succeeded — and to bring about historic GDP growth, where he has had less success.
The situation today isn't nearly as dire as in September 2008, when the U.S. and the world were heading into the Great Recession. There are no waves of home foreclosures, no spike in layoffs, no market meltdowns and no government rescues to save powerful banks and financial companies in order to contain the damage. What does exist is a heightened sense of risk about the economy's path amid slowing global growth and the volatility caused by the trade dispute between the United States and China.
There are other reasons as well for the administration's rosy pronouncements, said Tony Fratto, a former Treasury Department spokesman in the Bush administration during the onset of the financial crisis. He said he sympathized with the Trump administration for having to choose between answering "honestly or responsibly" or otherwise about the state of the economy, noting that any hint of concern "could be self-fulfilling."
"So much of the story of the economy is how people feel about it," said Lanhee Chen, a Hoover Institution fellow and former economic adviser to 2012 GOP nominee Mitt Romney. "And that's an inherently a difficult thing to measure."
Highlighting a disconnect between the nation's broad economic indicators and the "personal economies" of voters in swing states is a priority for Democratic candidates and outside groups heading into 2020.
Trump's advisers acknowledge there are few tools at his disposal to avert a slowdown or recession if one materializes: Internal concerns over a ballooning federal deficit, in part due to the president's 2017 tax law, are stifling talk of stimulus spending, and skepticism abounds over the chances of passing anything through a polarized Congress ahead of the election. But that hasn't stopped the White House from exploring ways to make the political cost less painful.
Seeking to get ahead of a potential slowdown, Trump has been casting blame on the Federal Reserve, China and now Democrats, claiming political foes are "trying to 'will' the Economy to be bad for purposes of the 2020 Election."
If the Federal Reserve would reduce rates and loosen its grip on the money supply "over a fairly short period of time," he tweeted, "our Economy would be even better, and the World Economy would be greatly and quickly enhanced – good for everyone!"
Those actions he's talking about are the sort a central bank would traditionally take to deal with or try to stave off a slowdown or full-blown recession.
Strong fundamentals? A lot depends on which ones the administration highlights or ignores in public comments.
Conway and other Trump aides have accurately described the rising retail sales and the solid labor market with its 3.7% unemployment rate as sources of strength.
Yet factory output and home sales are declining, while business investment has been restricted because of uncertainties from Trump ratcheting up the China trade tension.
Even if the economy avoids a recession, economists still expect growth to weaken.
Federal Reserve officials estimate that the gross domestic product will slow to roughly 2% this year, down from 2.5% last year. During his presidential campaign, Trump had boasted he would achieve long-term growth of 4 percent, 5 percent or more.
AP Business Writer Marcy Gordon contributed.
Legislators ask firms to explain use of 'vast amount of data' they collect on students
Truck driver threatened mass shooting at Memphis church, FBI says
economy, White House


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