text:
package com.github.mikephil.charting.renderer;

import android.graphics.Canvas;
import android.graphics.Paint;
import android.graphics.Paint.Align;
import android.graphics.Typeface;

import com.github.mikephil.charting.components.Legend;
import com.github.mikephil.charting.data.BarDataSet;
import com.github.mikephil.charting.data.ChartData;
import com.github.mikephil.charting.data.DataSet;
import com.github.mikephil.charting.data.Entry;
import com.github.mikephil.charting.data.PieDataSet;
import com.github.mikephil.charting.utils.Utils;
import com.github.mikephil.charting.utils.ViewPortHandler;

import java.util.ArrayList;
import java.util.List;

public class LegendRenderer extends Renderer {

    /** paint for the legend labels */
    protected Paint mLegendLabelPaint;

    /** paint used for the legend forms */
    protected Paint mLegendFormPaint;

    /** the legend object this renderer renders */
    protected Legend mLegend;

    public LegendRenderer(ViewPortHandler viewPortHandler, Legend legend) {
        super(viewPortHandler);

        this.mLegend = legend;

        mLegendLabelPaint = new Paint(Paint.ANTI_ALIAS_FLAG);
        mLegendLabelPaint.setTextSize(Utils.convertDpToPixel(9f));
        mLegendLabelPaint.setTextAlign(Align.LEFT);

        mLegendFormPaint = new Paint(Paint.ANTI_ALIAS_FLAG);
        mLegendFormPaint.setStyle(Paint.Style.FILL);
        mLegendFormPaint.setStrokeWidth(3f);
    }

    /**
     * Returns the Paint object used for drawing the Legend labels.
     *
     * @return
     */
    public Paint getLabelPaint() {
        return mLegendLabelPaint;
    }

    /**
     * Returns the Paint object used for drawing the Legend forms.
     *
     * @return
     */
    public Paint getFormPaint() {
        return mLegendFormPaint;
    }

    /**
     * Prepares the legend and calculates all needed forms, labels and colors.
     *
     * @param data
     */
    public void computeLegend(ChartData<?> data) {

        List<String> labels = new ArrayList<String>();
        List<Integer> colors = new ArrayList<Integer>();

        // loop for building up the colors and labels used in the legend
        for (int i = 0; i < data.getDataSetCount(); i++) {

            DataSet<? extends Entry> dataSet = data.getDataSetByIndex(i);

            List<Integer> clrs = dataSet.getColors();
            int entryCount = dataSet.getEntryCount();

            // if we have a barchart with stacked bars
            if (dataSet instanceof BarDataSet && ((BarDataSet) dataSet).isStacked()) {

                BarDataSet bds = (BarDataSet) dataSet;
                String[] sLabels = bds.getStackLabels();

                for (int j = 0; j < clrs.size() && j < bds.getStackSize(); j++) {

                    labels.add(sLabels[j % sLabels.length]);
                    colors.add(clrs.get(j));
                }

                // add the legend description label
                colors.add(-2);
                labels.add(bds.getLabel());

            } else if (dataSet instanceof PieDataSet) {

                List<String> xVals = data.getXVals();
                PieDataSet pds = (PieDataSet) dataSet;

                for (int j = 0; j < clrs.size() && j < entryCount && j < xVals.size(); j++) {

                    labels.add(xVals.get(j));
                    colors.add(clrs.get(j));
                }

                // add the legend description label
                colors.add(-2);
                labels.add(pds.getLabel());

            } else { // all others

                for (int j = 0; j < clrs.size() && j < entryCount; j++) {

                    // if multiple colors are set for a DataSet, group them
                    if (j < clrs.size() - 1 && j < entryCount - 1) {

                        labels.add(null);
                    } else { // add label to the last entry

                        String label = data.getDataSetByIndex(i).getLabel();
                        labels.add(label);
                    }

                    colors.add(clrs.get(j));
                }
            }
        }

        mLegend.setColors(colors);
        mLegend.setLabels(labels);

        Typeface tf = mLegend.getTypeface();

        if (tf != null)
            mLegendLabelPaint.setTypeface(tf);

        mLegendLabelPaint.setTextSize(mLegend.getTextSize());
        mLegendLabelPaint.setColor(mLegend.getTextColor());

        // calculate all dimensions of the mLegend
        mLegend.calculateDimensions(mLegendLabelPaint);
    }

    public void renderLegend(Canvas c) {

        if (!mLegend.isEnabled())
            return;

        Typeface tf = mLegend.getTypeface();

        if (tf != null)
            mLegendLabelPaint.setTypeface(tf);

        mLegendLabelPaint.setTextSize(mLegend.getTextSize());
        mLegendLabelPaint.setColor(mLegend.getTextColor());

        String[] labels = mLegend.getLegendLabels();
        int[] colors = mLegend.getColors();

        float formToTextSpace = mLegend.getFormToTextSpace();
        float xEntrySpace = mLegend.getXEntrySpace();
        Legend.LegendDirection direction = mLegend.getDirection();
        float formSize = mLegend.getFormSize();

        // space between the entries
        float stackSpace = mLegend.getStackSpace();

        // the amount of pixels the text needs to be set down to be on the same
        // height as the form
        float textDrop = (Utils.calcTextHeight(mLegendLabelPaint, "AQJ") + formSize) / 2f;

        float posX, posY;

        // contains the stacked legend size in pixels
        float stack = 0f;

        boolean wasStacked = false;

        float yoffset = mLegend.getYOffset();
        float xoffset = mLegend.getXOffset();

        switch (mLegend.getPosition()) {
            case BELOW_CHART_LEFT:

                posX = mViewPortHandler.contentLeft() + xoffset;
                posY = mViewPortHandler.getChartHeight() - yoffset;

                if (direction == Legend.LegendDirection.RIGHT_TO_LEFT) {
                    posX += mLegend.mNeededWidth;
                }

                for (int i = 0, count = labels.length; i < count; i++) {

                    boolean drawingForm = colors[i] != -2;

                    if (drawingForm) {
                        if (direction == Legend.LegendDirection.RIGHT_TO_LEFT)
                            posX -= formSize;

                        drawForm(c, posX, posY - mLegend.mTextHeightMax / 2f, i, mLegend);

                        if (direction == Legend.LegendDirection.LEFT_TO_RIGHT)
                            posX += formSize;
                    }

                    // grouped forms have null labels
                    if (labels[i] != null) {

                        // spacing between form and label
                        if (drawingForm)
                            posX += direction == Legend.LegendDirection.RIGHT_TO_LEFT ?
                                    -formToTextSpace :
                                    formToTextSpace;

                        if (direction == Legend.LegendDirection.RIGHT_TO_LEFT)
                            posX -= Utils.calcTextWidth(mLegendLabelPaint, labels[i]);

                        drawLabel(c, posX, posY, labels[i]);

                        if (direction == Legend.LegendDirection.LEFT_TO_RIGHT)
                            posX += Utils.calcTextWidth(mLegendLabelPaint, labels[i]);

                        posX += direction == Legend.LegendDirection.RIGHT_TO_LEFT ?
                                -xEntrySpace :
                                xEntrySpace;
                    } else {
                        posX += direction == Legend.LegendDirection.RIGHT_TO_LEFT ? -stackSpace : stackSpace;
                    }
                }
                break;
            case BELOW_CHART_RIGHT:

                posX = mViewPortHandler.contentRight() - xoffset;
                posY = mViewPortHandler.getChartHeight() - yoffset;

                for (int i = 0, count = labels.length; i < count; i++) {

                    boolean drawingForm = colors[i] != -2;

                    if (direction == Legend.LegendDirection.RIGHT_TO_LEFT && drawingForm) {
                        posX -= formSize;
                        drawForm(c, posX, posY - mLegend.mTextHeightMax / 2f, i, mLegend);
                        posX -= formToTextSpace;
                    }

                    if (labels[i] != null) {
                        posX -= Utils.calcTextWidth(mLegendLabelPaint, labels[i]);
                        drawLabel(c, posX, posY, labels[i]);
                    }

                    if (direction == Legend.LegendDirection.LEFT_TO_RIGHT && drawingForm) {
                        posX -= formToTextSpace + formSize;
                        drawForm(c, posX, posY - mLegend.mTextHeightMax / 2f, i, mLegend);
                    }

                    posX -= labels[i] != null ? xEntrySpace : stackSpace;
                }
                break;
            case BELOW_CHART_CENTER:

                posX = mViewPortHandler.getChartWidth() / 2f + (direction == Legend.LegendDirection.LEFT_TO_RIGHT ? -mLegend.mNeededWidth / 2f : mLegend.mNeededWidth / 2f);
                posY = mViewPortHandler.getChartHeight() - yoffset;

                for (int i = 0; i < labels.length; i++) {

                    boolean drawingForm = colors[i] != -2;

                    if (drawingForm) {
                        if (direction == Legend.LegendDirection.RIGHT_TO_LEFT)
                            posX -= formSize;

                        drawForm(c, posX, posY - mLegend.mTextHeightMax / 2f, i, mLegend);

                        if (direction == Legend.LegendDirection.LEFT_TO_RIGHT)
                            posX += formSize;
                    }

                    // grouped forms have null labels
                    if (labels[i] != null) {

                        // spacing between form and label
                        if (drawingForm)
                            posX += direction == Legend.LegendDirection.RIGHT_TO_LEFT ?
                                    -formToTextSpace :
                                    formToTextSpace;

                        if (direction == Legend.LegendDirection.RIGHT_TO_LEFT)
                            posX -= Utils.calcTextWidth(mLegendLabelPaint, labels[i]);

                        drawLabel(c, posX, posY, labels[i]);

                        if (direction == Legend.LegendDirection.LEFT_TO_RIGHT)
                            posX += Utils.calcTextWidth(mLegendLabelPaint, labels[i]);

                        posX += direction == Legend.LegendDirection.RIGHT_TO_LEFT ?
                                -xEntrySpace :
                                xEntrySpace;
                    } else {
                        posX += direction == Legend.LegendDirection.RIGHT_TO_LEFT ? -stackSpace : stackSpace;
                    }
                }

                break;
            case PIECHART_CENTER:

                posX = mViewPortHandler.getChartWidth() / 2f + (direction == Legend.LegendDirection.LEFT_TO_RIGHT ? -mLegend.mTextWidthMax / 2f : mLegend.mTextWidthMax / 2f);
                posY = mViewPortHandler.getChartHeight() / 2f - mLegend.mNeededHeight / 2f + mLegend.getYOffset();

                for (int i = 0; i < labels.length; i++) {

                    boolean drawingForm = colors[i] != -2;
                    float x = posX;

                    if (drawingForm) {
                        if (direction == Legend.LegendDirection.LEFT_TO_RIGHT)
                            x += stack;
                        else
                            x -= formSize - stack;

                        drawForm(c, x, posY, i, mLegend);

                        if (direction == Legend.LegendDirection.LEFT_TO_RIGHT)
                            x += formSize;
                    }

                    if (labels[i] != null) {

                        if (drawingForm && !wasStacked)
                            x += direction == Legend.LegendDirection.LEFT_TO_RIGHT ? formToTextSpace : -formToTextSpace;
                        else if (wasStacked)
                            x = posX;

                        if (direction == Legend.LegendDirection.RIGHT_TO_LEFT)
                            x -= Utils.calcTextWidth(mLegendLabelPaint, labels[i]);

                        if (!wasStacked) {
                            drawLabel(c, x, posY + mLegend.mTextHeightMax / 2f, mLegend.getLabel(i));

                            posY += textDrop;
                        } else {
                            posY += mLegend.mTextHeightMax * 3f;
                            drawLabel(c, x, posY - mLegend.mTextHeightMax, mLegend.getLabel(i));
                        }

                        // make a step down
                        posY += mLegend.getYEntrySpace();
                        stack = 0f;
                    } else {
                        stack += formSize + stackSpace;
                        wasStacked = true;
                    }
                }

                break;
            case RIGHT_OF_CHART:
            case RIGHT_OF_CHART_CENTER:
            case RIGHT_OF_CHART_INSIDE:
            case LEFT_OF_CHART:
            case LEFT_OF_CHART_CENTER:
            case LEFT_OF_CHART_INSIDE:

                boolean isRightAligned = mLegend.getPosition() == Legend.LegendPosition.RIGHT_OF_CHART ||
                    mLegend.getPosition() == Legend.LegendPosition.RIGHT_OF_CHART_CENTER ||
                    mLegend.getPosition() == Legend.LegendPosition.RIGHT_OF_CHART_INSIDE;

                if (isRightAligned) {
                    posX = mViewPortHandler.getChartWidth() - xoffset;
                    if (direction == Legend.LegendDirection.LEFT_TO_RIGHT)
                        posX -= mLegend.mTextWidthMax;
                } else {
                    posX = xoffset;
                    if (direction == Legend.LegendDirection.RIGHT_TO_LEFT)
                        posX += mLegend.mTextWidthMax;
                }

                if (mLegend.getPosition() == Legend.LegendPosition.RIGHT_OF_CHART ||
                        mLegend.getPosition() == Legend.LegendPosition.LEFT_OF_CHART) {
                    posY = mViewPortHandler.contentTop() + yoffset;
                } else if (mLegend.getPosition() == Legend.LegendPosition.RIGHT_OF_CHART_CENTER ||
                        mLegend.getPosition() == Legend.LegendPosition.LEFT_OF_CHART_CENTER) {
                    posY = mViewPortHandler.getChartHeight() / 2f - mLegend.mNeededHeight / 2f;
                } else /*if (mLegend.getPosition() == Legend.LegendPosition.RIGHT_OF_CHART_INSIDE ||
                        mLegend.getPosition() == Legend.LegendPosition.LEFT_OF_CHART_INSIDE)*/ {
                    posY = mViewPortHandler.contentTop() + yoffset;
                }

                for (int i = 0; i < labels.length; i++) {

                    Boolean drawingForm = colors[i] != -2;
                    float x = posX;

                    if (drawingForm) {
                        if (direction == Legend.LegendDirection.LEFT_TO_RIGHT)
                            x += stack;
                        else
                            x -= formSize - stack;

                        drawForm(c, x, posY, i, mLegend);

                        if (direction == Legend.LegendDirection.LEFT_TO_RIGHT)
                            x += formSize;
                    }

                    if (labels[i] != null) {

                        if (drawingForm && !wasStacked)
                            x += direction == Legend.LegendDirection.LEFT_TO_RIGHT ? formToTextSpace : -formToTextSpace;
                        else if (wasStacked)
                            x = posX;

                        if (direction == Legend.LegendDirection.RIGHT_TO_LEFT)
                            x -= Utils.calcTextWidth(mLegendLabelPaint, labels[i]);

                        if (!wasStacked) {
                            drawLabel(c, x, posY + mLegend.mTextHeightMax / 2f, mLegend.getLabel(i));

                            posY += textDrop;
                        } else {
                            posY += mLegend.mTextHeightMax * 3f;
                            drawLabel(c, x, posY - mLegend.mTextHeightMax, mLegend.getLabel(i));
                        }

                        // make a step down
                        posY += mLegend.getYEntrySpace();
                        stack = 0f;
                    } else {
                        stack += formSize + stackSpace;
                        wasStacked = true;
                    }
                }
                break;
        }
    }

    /**
     * Draws the Legend-form at the given position with the color at the given
     * index.
     *
     * @param c canvas to draw with
     * @param x
     * @param y
     * @param index the index of the color to use (in the colors array)
     */
    protected void drawForm(Canvas c, float x, float y, int index, Legend legend) {

        if (legend.getColors()[index] == -2)
            return;

        mLegendFormPaint.setColor(legend.getColors()[index]);

        float formsize = legend.getFormSize();
        float half = formsize / 2f;

        switch (legend.getForm()) {
            case CIRCLE:
                c.drawCircle(x + half, y, half, mLegendFormPaint);
                break;
            case SQUARE:
                c.drawRect(x, y - half, x + formsize, y + half, mLegendFormPaint);
                break;
            case LINE:
                c.drawLine(x, y, x + formsize, y, mLegendFormPaint);
                break;
        }
    }

    /**
     * Draws the provided label at the given position.
     *
     * @param c canvas to draw with
     * @param x
     * @param y
     * @param label the label to draw
     */
    protected void drawLabel(Canvas c, float x, float y, String label) {
        c.drawText(label, x, y, mLegendLabelPaint);
    }
}

redpajama_set_name: RedPajamaGithub


When Do I Finish One Volume And Start Another?
by Zooton July 20, 2016 July 20, 2016 16 Comments on When Do I Finish One Volume And Start Another?
Do You Prefer A Monday or Sunday Start To The Week On A Monthly View?
by Zootupdated on June 23, 2016 June 23, 2016 16 Comments on Do You Prefer A Monday or Sunday Start To The Week On A Monthly View?


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text:
animation, Film Events September 7, 2016 September 7, 2016
"Kubo" Is Complicated, Flawed, And You Should Totally See It This Weekend
"There are plenty of lines from the core supporting cast that could have been filled by the George Takeis, the Amy Hills, and the Tamlyn Tomitas of the world."
CAAM Events July 22, 2015 July 22, 2015
CAAM CO-PRESENTS THE DOUBLE LIFE OF LI XIANGLAN
CAAM is proud to co-present Mei-Juin Chen's The Double Life of Li XiangLan on Saturday August, 1st from 2-4 pm at Samsung Hall in the Asian Art Museum.
CAAM Funded, CAAMFest 2015, Filmmaker Profile March 17, 2015 May 18, 2016
Director Sara Dosa Embedded Herself Among Mushroom Hunters to Make "The Last Season"
Sara Dosa spent a season embedded in the tight-knit community of mushroom pickers in the Oregon woods to direct her first documentary, "The Last Season."
CAAMFest 2015 March 6, 2015 March 10, 2015
Memoirs of a Superfan Vol. 10.3
"'Top Spin' is one of the best docs I've seen in a long while, combining edge-of-your-seat sports excitement with the dramas of childhood, parenting and achievement."
CAAM Presents, Documentary Fund, Public Media December 1, 2014 December 3, 2014
"Hafu" and "The Road to Fame" on Public Television
Two of our funded films begin airing nationally in December. Check local listings.
Actor Profile, CAAM Presents, Film Events November 5, 2014 November 5, 2014
Ryan Potter – Big Hero 6's "Hiro"
CAAM catches up with the young actor who's the voice of Hiro from Disney's latest animated film, Big Hero 6.
CAAM Presents, CAAMFest San Jose, festival, Film Events, Public Media August 28, 2014 August 28, 2014
"Stories from Tohoku"
The documentary "Stories from Tohoku" gives voice to survivors of the 2011 tsunami and nuclear crisis in Japan. Catch it at CAAMFest San Jose on 9/6.
Events, festival, Film Events, Silent Film May 25, 2014 May 25, 2014
CAAM at the 2014 SF Silent Film Festival
CAAM is proud to co-sponsor two silent film gems from Asia for the SF Silent Film Festival: "Song of the Fishermen" (China, 1934) and "Dragnet Girl" (Japan, 1933). The festival runs May 29-June 1 at the Castro Theatre.
CAAM Events, CAAM Presents, Events, Film Events April 22, 2012 May 8, 2012
CAAM Co-presentation: WARRIORS OF THE RAINBOW: SEEDIQ BALE
This Friday, April 27, CAAM will be co-presenting the opening night of WARRIORS OF THE RAINBOW: SEEDIQ BALE at the AMC Metreon in San Francisco. Read for more information about the film and a contest giveaway!
CAAM Presents June 2, 2011 June 2, 2011
Cinema Asian America: June's Line-up
Take a look at the great films Chi-hui Yang (former SFIAAFF Festival Director) has programmed on Cinema Asian America for the month of June.
Events, Film Events May 23, 2011 May 23, 2011
Kamikaze Girls Screening for Tsunami Relief
NEW PEOPLE is holding a third fundraiser film event. This time the film is our beloved Kamikaze Girls!
Film Events, Filmmaker Profile, Interesting Projects, New Media August 2, 2010 August 2, 2010
CAAM Vlog #2 from the Flaherty 2010
Here is the next post in our series on the The 56th Annual Flaherty Film Seminar. This video covers day 3 and we were getting into the swing of things. Christine and I interviewed filmmaker Kazuhiro Soda, director of MENTAL and the CAAM distributed film, CAMPAIGN.

redpajama_set_name: RedPajamaCommonCrawl


text:
Test Id : JAK2M
JAK2 V617F Mutation Detection, Bone Marrow
Aiding in the distinction between a reactive blood cytosis and a chronic myeloproliferative disorder in bone marrow specimens
Testing Algorithm
Delineates situations when tests are added to the initial order. This includes reflex and additional tests.
See Myeloproliferative Neoplasm: A Diagnostic Approach to Bone Marrow Evaluation in Special Instructions.
Myeloproliferative Neoplasm: A Diagnostic Approach to Bone Marrow Evaluation
JAK2 V617F Mutation Detection, BM
Janus kinase 2 gene
Specimen must arrive within 7 days of collection.
Container/Tube:
Preferred: Lavender top (EDTA)
Acceptable: Yellow top (ACD)
Specimen Volume: 2 mL
Collection Instructions:
1. Invert several times to mix bone marrow.
2. Send specimen in original tube.
Gross hemolysis Reject
Other Moderately to severely clotted
Bone Marrow Ambient (preferred) 7 days PURPLE OR PINK TOP/EDTA
Refrigerated 7 days PURPLE OR PINK TOP/EDTA
The Janus kinase 2 gene (JAK2) codes for a tyrosine kinase (JAK2) that is associated with the cytoplasmic portion of a variety of transmembrane cytokine and growth factor receptors important for signal transduction in hematopoietic cells. Signaling via JAK2 activation causes phosphorylation of downstream signal transducers and activators of transcription (STAT) proteins (eg, STAT5) ultimately leading to cell growth and differentiation. BCR-ABL1-negative myeloproliferative neoplasms (MPN) frequently harbor an acquired single nucleotide variant in JAK2 characterized as c.G1849T; p. Val617Phe (V617F). This variant is identified overall in approximately two-thirds of all MPN,(1-3) but the prevalence varies by MPN subtype. The JAK2 V617F variant is present in 95% to 98% of polycythemia vera patients, 50% to 60% of primary myelofibrosis (PMF) patients, and 50% to 60% of essential thrombocythemia (ET) patients. It has also been described infrequently in other myeloid neoplasms, including chronic myelomonocytic leukemia and myelodysplastic syndrome.(4) This variant is not seen in chronic myelogenous leukemia (CML) or in reactive conditions with elevated blood counts. Detection of the JAK2 V617F variant is useful to help establish the diagnosis of MPN. However, a negative JAK2 V617F result does not indicate absence of a MPN. Other important molecular markers in BCR-ABL1-negative MPN include CALR exon 9 variant (20%-30% of PMF and ET) and MPL exon 10 variant (5%-10% of PMF and 3%-5% of ET). Variants in JAK2, CALR, and MPL are essentially mutually exclusive.
-Negative for JAK2 V617F variant
-Positive for JAK2 V617F variant
Positive variant status is highly suggestive of a myeloid neoplasm, but must be correlated with clinical and other laboratory features for definitive diagnosis.
Negative variant status does not exclude the presence of a myeloproliferative neoplasm or other neoplasm.
In rare cases, a variant other than the V617F may be present in an area that interferes with primer or probe binding and cause a false-negative result.
4. Steensma DP, Dewald GW, Lasho TL, et al: The JAK2 V617F activating tyrosine kinase mutation is an infrequent event in both "atypical" myeloproliferative disorders and the myelodysplastic syndrome. Blood 2005;106(4):1207-1209
5. Gong, Jerald Z, Cook, James R, et al: Laboratory Practice Guidelines for Detecting and Reporting JAK2 and MPL Mutations in Myeloproliferative Neoplasms. J Mol Diag 2013;15(6):733-744
Genomic DNA is extracted and 2 PCR reactions are used for each sample. In each reaction, a short fragment of genomic DNA, including the variant site, is amplified using quantitative PCR in a real-time PCR instrument. In the first reaction, the 5' terminal base of the reverse primer matches the mutated sequence and the PCR conditions are such that it will only bind mutated DNA. In the second reaction, the 5' terminal base of the reverse primer matches the wild-type sequence and the PCR conditions are such that it will only bind the wild-type sequence. In both reactions, the PCR is monitored using TaqMan probe chemistry. The amount of mutated DNA and the amount of wild-type DNA is measured for each sample. In each run, the amount of mutated and wild-type DNA in a calibrator DNA sample is also measured. The calibrator is a mixture of DNA from a positive cell line (HEL) and a negative cell line (HL60) that is frozen in aliquots and expected to give an identical result in each run. Deviations in the calibrator result are assumed to be due to deviations in the run conditions and the sample results are corrected accordingly. Following each reaction, Relative Quantification Software is used to calculate the normalized mutated:wild-type ratio, which is expressed as a unitless ratio following correction with the calibrator data.
The final result is reported as percent JAK2 V617F of total JAK2 (ie, [mutated/mutated + wild-type] x 100%), calculated from the normalized mutated:wild-type ratio.(Unpublished Mayo method)
DNA: 3 months
JAK2M JAK2 V617F Mutation Detection, BM 72333-8
31157 JAK2 V617F Mutation Detection, BM 72333-8


text:
Dharna day 5: Ram Vilas Paswan visits and meets Sana
Most of us spent the last night waiting for the wind to blow from somewhere. When that didn't happen most of us spent the night counting stars and braving mosquitoes. Due to some miscommunication the caretaker at the St' Columbus school had switched off electricity and so we had to sleep outside in open. Nonetheless, St' Columbus has been a generous host so far and we decided that perhaps talking to school authorities would ensure that nothing of this sort is repeated. We marched for Jantar Mantar early morning to avoid any clash with the school schedule. Also, today was a big day. Rajya Sabha Member, Shri Ram Vilas Paswan, who was also the Minister of Chemicals and Fertilizers and a member of Group of Minister on Bhopal till recently, was to visit us in the afternoon.
We laid down the mattresses wrapped in clean white sheets, borrowed from Delhi Forum- a delhi based organization, and sat waiting for Mr. Paswan. The police was on high alert and stood close to the dharna sthal. Soon the place was taken over by media cameras and tripods. Mr. Paswan came in promptly at 3pm and sat with us. He wasted no time and minced no words in expressing his unconditional support to our demands.
We presented the case of Sana, an 8-year old girl from Annu Nagar which is one of the many the contaminated water affected bastis. She has had to drink contaminated groundwater for the last four years and a year ago developed a tumour in her throat. This tumour has grown to block her wind-pipe and She now breathes through a tube that goes in to into her throat. Her family of four, including a seriously underdeveloped 2-year old brother, does not figure in the Government's schemes for free medical care because contamination affected communities are not considered by the Government to be at par with the victims of the gas disaster. Sana's parents brought her to Delhi as part of the rally since they could not even afford the train fare from Bhopal to Delhi. Bhopal-based Gandhi Medical College has referred them to AIIMS to get the tumour operated as local facilities do not exist. In response to an appeal for financial assistance that Sana's parents made with the Chief Minister's Relief Fund, they were told to get an estimate of the cost of treatment from AIIMS.
Mr. Paswan immediately arranged an appointment with the ENT Specialist at AIIMS for her. He agreed with our view that the Group of Ministers' recommendations last month do not address the unfolding health and economic disasters among victims of Carbide's toxic legacy in Bhopal. Health abnormalities, particularly among children, and birth defects are rampant among both gas-affected and contamination-affected communities.
In his address to the Press Mr. Paswan highlighted that the Government of India's Rs. 700 crore enhanced compensation package covers only 7 percent of the total registered victims and that at least 530,000 will get nothing from this package. He stressed that without the Empowered Commission, presented to the earlier GOM by him in 2008; it would be difficult to address all aspects of rehabilitation. He also felt that the Government of India should intervene in the US Court Case and stand up for justice in Bhopal. In response to a journalist's question whether he thinks that Mr. Manmohan Singh led government has the spine to intervene in the US court case, Mr. Paswan said he sincerely hopes that the government does that. He then left but not before arranging medical care for Sana.
TODAY'S ALL SINGING DANCING DHARNA PICS
Later in the evening, a visit from Neeraj of Manzil group lifted our spirits tremendously. Few women got up to dance on 'hey sajni re' while many joined in chorus. Most of us, including the police women who surrounded the dharna sthal, joined him in 'daulat badi hai ya, kismet badhi hai ya, shohrat badi hai, ya mohabbat?' meaning which is the greatest among these- wealth, destiny, fame or love?
2010 Dharnaactions and proteststestimonies
Previous PostDharna day 4: Common folk make way for the CommonwealthNext PostPMO statement 29 May, 2008


text:
Q: Ubuntu does not boot alongside windows 8 (toshiba satellite p855) I installed ubuntu 16.04 alongside windows 8. Secure boot disabled, CSM boot mode in order to boot from usb. After booting from usb several times, i can not even get access to ubuntu. Windows does not recognize usb or usb installer. I fixed this problem by changing usb installer whenever got stuck.
Ubuntu installed fine on partition dev/sda9. I tried grub2win to boot, but it fails. For ubuntu black screen appears. Windows boots normally.
Also tried boot repair without success.
Main problem is that Ubuntu does not boot. Due to usb installer issue and dummy toshiba UEFI system I have limited access to ubuntu with usb drive only.
I appreciate your help in advance

A: Maybe your windows is constantly setting up secure boot because you are not using the windows-in-built feature that lets you access the BIOS.
I strongly recommend you to enable LEGACY support in your laptop if you want to try another linux distros or just install ubuntu, you can enable it in your BIOS settings too.
To access BIOS go to your windows 8, swipe left of the screen and go to
Change your Settings >> Update and Backup  >> Backup >> Advanced startup >> Fix problems >> Advanced Settings >> BIOS/UEFI Config.
Then acces the BIOS and disable the secure boot, another thing is that Windows in EFI mode is the lord of the computer, and the only way to boot a pendrive is:

*

*In BIOS changing the order of boot

*Access to the pendrive/CD using an alternate key

the alternate key to boot device is not the same for each laptop, you can try with F1-F12 and is only available when the manufacturer logo appears, you can boot Ubuntu with this key too so is very important to know what key is, In my laptop is F12.
that will solve your problem...
If you want to use GRUB as your default bootloader, boot a live session with ubuntu in EFI/UEFI mode, open a terminal then type this.
sudo grub-install /dev/sda

redpajama_set_name: RedPajamaStackExchange


text:
Deakivți (în ) este o comună în raionul Litîn, regiunea Vinnița, Ucraina, formată din satele Deakivți (reședința) și Havrîșivka.

Demografie

Conform recensământului din 2001, majoritatea populației satului Deakivți era vorbitoare de ucraineană (%), existând în minoritate și vorbitori de alte limbi.

Note

Deakivți, Litîn, Vinița
Deakivți, Litîn, Vinița
Deakivți, Litîn, Vinița

redpajama_set_name: RedPajamaWikipedia


text:
Шо́ри  — фамилия:

 Шори, Бригитта — швейцарская кёрлингистка.
 Шори, Девиндер (род. 1958) — канадский политик.
 Шори, Ирене (род. 1983) — швейцарская кёрлингистка, запасной в команде Швейцарии на Олимпийских играх 2010 года.
 Шори, Ники (род. 1981) — профессиональный английский футболист.

Составные фамилии
 Джеффертс Шори, Кэтрин (род. 1954) — c 2006 года 26-й председательствующий епископ Епископальной Церкви США, в 2001—2006 — епископ Епископального Диоцеза Невады.


At W88 Live Mobile, our passion for digital is driving us to work with clients, using our digital engineering and advisory expertise to support them in taking control of their digital possibilities to improve their businesses.
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Our digital expertise encompasses the way we work, how we share knowledge, collaborate and communicate. It's essential to develop digital solutions, tools and expertise to improve whole of life performance on every project we deliver with clients.
Currently, many businesses are in a digital limbo, with a part of them knowing they should do something 'digital' and another part unwilling to commit in case they make a wrong call. W88 Live Mobile's digital team and strategy focuses on keeping pace with the developing digital environment and supporting businesses to become agile and connected.
We believe that the creation of 'digital studios' is a game changer for engineering and architecture firms of the future. Gaming technology, augmented and virtual reality, as well as 3D, are having a huge impact on how the vision for major infrastructure and built environment projects are being communicated to project stakeholders, including Government, investors and the public.
Bringing storytelling and technology together to create immersive and interactive project experiences.
The future of business lies in digital transformation – and Asia is ready to be transformed.
In March 2018, the acquisition of a specialised team of digital designers and creative strategists has enhanced our access to new technologies, and combined with storytelling techniques, these are transforming digitisation across W88 Live Mobile.
We have further extended our 'digital' vision to the Asian market with the Regional Centre of Excellence for Digital Engineering, based in Singapore. Staffed by our Digital Futures team, the Centre is dedicated to help solving our clients' challenges with emerging digital technologies and alternative business models.
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At W88 Live Mobile we have combined our deep technical design capability, with our advisory expertise to deliver technically-led advisory services that empower clients to make well-informed capital decisions.
To support and strengthen our ability to deliver digital engineering and advisory to clients, we have digital leaders across our global network. We have an agreed digital approach to work planning and execution that is common across our business.
We are supporting and engaging our people to co-create your digital future. The ideas that we invest in are informed by the marketplace and our clients' needs. We focus on connecting with our clients to recognise the digital changes we've made and to support them in building, transforming and optimising their own assets.
We do this through thought leadership, research and innovation. We are building on the 'Our Digital Futures' insights with agenda-shaping thinking.
W88 Live Mobile's digital advisory team assists clients in planning, procuring and managing their digitally connected enterprises to not only future-proof businesses, but to exploit the opportunities a digital future presents. We support clients throughout the digital transformation process by delivering deep business insight to help improve value and performance of assets.
At W88 Live Mobile, machine learning is helping us find new answers to old problems, and outcomes for fresh challenges presented by our ever-evolving world. Machine learning allows us generate, manage and make sense of data, providing meaningful insights to help our clients make better decisions for a digitised future. More about machine learning here and below.
We use the words 'digital disruption' to describe the change that occurs when new digital technologies and business models affect how we do business. At W88 Live Mobile, "digital" means transforming the way we engineer, design and advise so we can help you – our clients and communities – become future ready.
Digital engineering is the art of creating, capturing and integrating data using a digital skillset. This process enables designers to interact with and modify digitised representations of a design, facilitating communication and collaboration to resolve design challenges more effectively and efficiently than before. It also enables designers to innovate and develop solutions that push the boundaries of imagination and creativity.
What do we mean by digital engineering transformation?
Digital engineering transformation refers to the integration of new technologies into the way we practice engineering and design. As digital technologies and their real-world applications continue to evolve, we are provided with increasing opportunity to transform the way we engineer, moving away from traditional methods and increasingly towards digital approaches that deliver more efficient, innovative and effective outcomes for users and clients.
The digitisation of engineering provides engineering practitioners with new ways to envision design, and to engage and collaborate with our clients, stakeholders and communities; using tools like virtual reality, augmented reality, visual models and virtual representations (flythrough videos and still images).
What do we mean by digitising infrastructure?
Digitising infrastructure refers to the application of digital engineering approaches and tools to design. From the initial designs of new builds to the retrofitting of digital technologies to existing operations, we are designing new ways of delivering future-proofed infrastructure by exploring new technologies and emerging opportunities, helping our clients mitigate the effects of disruption on their projects.
What role does data capture play in digital engineering?
Data capture is any method of transforming information into a form that can be read by a computer. For W88 Live Mobile, it is the process of extracting key data from collection tools, and interpreting or manipulating that data for use in digital engineering approaches which inform the design outcome of a project.
One example of data capture is a photogrammetry scan, used on major infrastructure projects such as the remediation of Deans Head to capture the constantly changing topography after the 2011 Christchurch earthquakes.
Without a complete data set, engineers cannot effectively take advantage of the benefits of visualisation technologies because the representations would not accurately reflect project conditions. Conversely, if digital engineering tools are unable to accurately interpret the available data, then engineers may be designing solutions that may not be providing the best outcomes for the client.
What do we use virtual reality for?
Virtual reality (VR) is a term used to describe a computer generated, immersive 3D environment in which an individual can interact with their surrounds and manipulate objects. We use virtual reality and other visual technologies because it can lead to exciting new discoveries throughout the design and delivery of projects.
At W88 Live Mobile, we have been actively using visual technologies to visually collaborate with clients and engage communities on projects such as Wynyard Station Upgrade, Christchurch Bus Interchange and Brisbane Airport. These technologies help us co-create and test human-centred solutions, and allow our stakeholders to see the full extent of their design decisions in an interactive and safe way.
Smart technology is defined by technologies that are connected through the Internet of Things (IoT), using sensors to analyse their environment and automatically modify their behaviour to provide for users in that environment.
Smart technologies are reactive to human actions and have the capability to self-regulate – to make their own decisions and respond to changes in the environment without human intervention. An example of smart technology is a temperature sensor, which helps a building self-regulate the optimum settings for heating and cooling.
Artificial intelligence (AI) is a term used to describe "intelligence" demonstrated by machines. AI programs may mimic or simulate cognitive behaviours or traits associated with human intelligence such as reasoning, problem solving and learning.
Machine learning is a subset of artificial intelligence, and describes a form of artificial intelligence programming which makes it possible for a machine to iteratively "learn" from experience. This "learning" is the refinement parameters based on observed data (historical or new) and related calculations. In this way the machine's model of a system and the associated outputs (decision making behaviour) is adapted. It makes use of the ability of an AI program to recognise patterns in large amounts of data.
W88 Live Mobile will help organisations make better decisions about the asset base to deliver infrastructure projects that improve both productivity and quality of life.


text:
Job Title Managing Associate - IP (Trade Marks and Brands)
Department Dispute Resolution
Job Location London
Simmons & Simmons LLP is a full service IP practice which has been at the forefront of IP law and practice for more than 40 years. We are consistently involved in many of the leading IP cases and transactions. We have over 100 lawyers in Europe, Asia and the Middle East. We offer an unparalleled level of expertise and service. Our lawyers are widely recognised as leading practitioners in their fields by leading directories, with a reputation for 'cutting-edge advice' and 'superb client service.'
We are seeking to recruit a senior associate solicitor to manage and help expand a busy trade mark and soft IP practice, with work ranging from contentious proceedings at registry level and in the UK courts to the management of household name trade mark portfolios, brand clearance and trade mark prosecution. Substantial experience of both the UK and EU trade mark systems is vital. You will be responsible for managing client relationships and managing and executing the full range of trade mark work, contentious and non-contentious.
You will be afforded the opportunity to work on some of the most exciting and high profile IP work in the world, working alongside leading IP specialists. You'll work for large and small clients in a diverse range of industries, including FMCG, fashion, life sciences, financial institutions, entertainment, TMT and the arts. This role offers excellent career prospects.
Person specification:
Substantial experience in trade marks, able to handle everything from managing a trade mark portfolio to conducting trade mark litigation including oppositions at the UKIPO and the EUIPO.
Well organised and capable of managing a large number of matters efficiently and prioritising appropriately while also managing a team. Able to work effectively as part of a diverse and inclusive team.
Articulate, with a strong client focus and the ability and willingness to get actively involved in marketing and business development. An existing market profile and existing client relationships a plus.
An understanding of the commercial aspects of running a trade mark practice which competes at the highest level.
Applicants will ideally have at least five years' post qualified experience as a solicitor in trade marks, brands and other soft IP work which will have been gained at another leading practice.
A strong drive to succeed and ambition to take your career to the next level with a potential to lead in this field.
Flexibility and a willingness to work additional hours on occasion as required.


text:
L'intitulé groupe de Vilnius peut faire référence :
 au groupe de Vilnius, une organisation de pays créée en  visant à l'intégration de ces pays au sein de l'OTAN ;
 au groupe de Vilnius, un cercle révolutionnaire juif créé en Lituanie dans l'Empire russe à la fin du .


text:
Q: Rails Call Custom Controller Action from Custom Form In a Rails project, I have the following controller action for the controller exchanges.rb:
def update_ordid

# Get the active exchange
@exchange = Exchange.find(params[:id])

# Decide which order ID field to update
active_order_field = params[:ordfld]

# Save the order ID
order_id = params[:ordid]

if active_order_field == 1 then
  @exchange.order_id_1 = order_id
else
  @exchange.order_id_2 = order_id
end

@active_exchange.save
respond_with(@exchange)

end

I've set up a route to this controller action:
resources :exchanges do
    collection do
      get 'update_ordid'
    end
end

I want to call this action that accepts an order ID from a form on an exchanges show.html.erb page. I need to pass three values:

*

*The ID of the current exchange, such as the integer in this example URL localhost:3000/exchanges/2 (This is the page the form is on)

*The order ID as input from a text-field

*Which of the two possible exchange fields the action should update

Next I need to create a custom form which will pass these values as parameters to the action. I haven't been able to find a good tutorial on how to do this yet, but my first thought was to set up the following:
<%= form_for(@exchange) do |f| %>

  <%= f.label :ordid, "Order ID" %>

  <%= f.text_field :ordid, class: "form-control" %>

<% if @isrequestor == true %>
  <%f.hidden_field :ordfld, :value => "1" %>
<% else %>
  <%f.hidden_field :ordfld, :value => "2" %>
<% end %>

  <%= f.submit "Submit", class: "btn btn-primary"  %>

<% end %>

This gives me a NoMethodError stating the method 'ordid' is undefined. I'm guessing I need to modify the first line of code to associate the form with the custom action I've set up, but have no idea how to do so properly.

A: Yah, I got your point. So you wanted the following thing:

*

*You wrote an custom action

*You wanted to submit a form that action

*You have registered your action in the router.

So let me answer the following solutions and find some mistakes you made in your code.
# in route.rb
resources :exchanges do
  patch :update_ordid, on: :member # this is the best practice I would say,
         #when you are trying to modify an existing record. So this action will only
         #be reached with patch http methods
         # on :member action an parameter id is required.
end

now if you generate your routes by running:
bundle exec rake routes

you will see a path like:
update_ordid_exchange  /exchange/:id/update_ordid # :id parameter for exchange record

in your form set the url:
<%= form_for(@exchange, url: update_ordid_exchange_path) do |f| %>

or
<%= form_for(@exchange, url: url_for(controller: :exchange, action: update_ordid)) do |f| %>

Now then you will this form can submit this values within the parameter in your desire field.
So let me summarize things up here:
1. Setup your route properly
2. Check the url based on your route by generating rake routes command as shown above
3. Set the proper url and check if http method is correctly define in your form helper. For member actions, form helper by default use patch as http method. you just have to set the url.
Hope you understand my flow.


text:
New Frontiers: As the West Loop Loses its Gallery District, Chicago Artists Coalition Finds Fresh Space to Build on its Mission
May 25, 2018 at 9:30 am by Elliot Reichert
by Elliot Reichert
May 25, 2018 July 10, 2018 Filed under:
Gallery Profile
The new Chicago Artists Coalition facility at 2130-40 West Fulton Street with the hypothetical rendering of artwork, "Seep" by artist Erik L. Peterson
The hum of heavy machinery and the roar of trucks are familiar sounds in the West Loop. For decades, the many expansive brick-and-iron structures here were home to the butchers and fishmongers that fed the Midwest. These days, there are more cement trucks and cranes than anything else. What was once a bustling meatpacking and manufacturing district has become a playground for the young and trendy who live and dine in the hollowed-out shells of American urban industry.
Lately, I've had dwindling reasons to visit the West Loop. After the Taxi Cab galleries—Western Exhibitions, Document, Volume and Paris London Hong Kong—moved out of their eponymous space and into a custom-remodeled facility in Ukrainian Village, the number of commercial galleries in the neighborhood shrunk by half. Now that Rhona Hoffman has departed to take a storefront at that complex at 1709 West Chicago, only Kavi Gupta, Andrew Rafacz, Carrie Secrist and McCormick remain. Aspect/Ratio left the lofts that once housed Threewalls sometime last year. They are now in Ukrainian Village too, making that neighborhood the burgeoning hub of Chicago's commercial gallery scene, counting too that Corbett vs. Dempsey has long been in the neighborhood and the young Efrain Lopez gallery is just down the street. The move marks a strange turn for the arts, which have tended to gentrify outward toward cheaper, industrial spaces further flung from the city core. Of course, that's how the West Loop happened in the first place, after galleries fled from rising rents in River North.
This month, one of the last West Loop holdouts will vacate the neighborhood. The Chicago Artists Coalition will open a new chapter in its forty-four-year history with a move to a new space in the Kinzie Industrial Corridor. The move calls for a look back on the long history of the organization and its role in supporting Chicago artists over the decades, a story that parallels the city's artistic growth over those same years. How does a nonprofit arts organization survive in Chicago for nearly half a century? By constantly adapting to the changing needs of artists and the cultural conditions of the city.
When the Chicago Artists Coalition was founded in 1974, the arts were in dire straits locally: There was no Department of Cultural Affairs and Special Events, Chicago did not have a cultural plan, and public art was limited to nineteenth-century monuments that reflected the white supremacist narratives of a bygone era of manifest destiny. In fact, the Chicago Artists Coalition had a major role in lobbying for the creation of DCASE, which was established two years after the CAC as the "Chicago Council of Fine Arts." The CAC's lobbying for the "Percent for Art Ordinance" achieved a legislative victory in 1978, requiring that 1.33 percent of the budget for construction or major renovation of a city-owned or city-financed structure be spent on commissioned art. In the spirit of the seventies, much of the early activities of the CAC involved marching on Springfield and letter-writing campaigns. These artists-cum-activists organized around issues like affordable healthcare, diversity and inclusion, and censorship in the arts—issues that, for better or for worse, resonate today.
Cover of the June 1986 issue of the Chicago Artists Coalition Newsletter/ Photo: Miao Wang
Among the CAC's earliest accomplishments was the creation of a long-running newsletter. What began as a forum for the organization's internal affairs grew to include exhibition listings, job postings, art news and reviews, and long-form essays on cultural and political topics. Combing through its archives, the paper reads like a living history of Chicago's cultural evolution. In the seventies, the members were concerned with opportunities to show work and make a living as artists. They organized around healthcare, eventually establishing a plan for members to attain affordable group coverage. Robert Dilworth, then a young graduate of the School of the Art Institute of Chicago, published "The Black Visual Artist in Chicago," a semi-autobiographical manifesto on the changing fortunes of African-American artists. In a prescient foretaste of Theaster Gates and Kerry James Marshall, Dilworth wrote: "We must keep in mind that it is not the black image itself that is wrong but the position within the Chicago art hierarchy of this group of artists that makes the black image unacceptable."
In the eighties, the newsletter featured criticism of Ronald Reagan and statements on the burgeoning Chicago Cultural Plan by Michael Dorf, the one-time director of projects and planning at the Department of Cultural Affairs. Another essay on multiculturalism considered how the AIDS crisis transformed a generation of artists into activists and predicts that "the question of who holds the power in the art world will become crucial." The political slant of the organization was not without its detractors—a published letter from one Frank Mannarino states "For you, 'all art is political,' and I suppose all politics, art. I disagree. For me, insofar as it is political, it cannot be art. By mixing politics with art, you do justice to neither." As late as 2009, the newsletter lists over a dozen essential services to members, including the aforementioned healthcare, an online job database, a credit union and an emergency fund.
"Crafting A Winning Proposal" workshop taught by Dana Bassett as part of Chicago Artists Coalition's FIELD/WORK education program /Photo: Miao Wang
That year, a lot changed for the Chicago Artists Coalition. Carolina Jayaram was appointed executive director and commenced a much-needed overhaul of an organization that had, in the words of one source, become a club for "Sunday painters" who were not serious about art. Hiring Cortney Lederer as her director of exhibitions, Jayaram went forward with redeveloping the CAC's program and public image. As Lederer described it, "the IRS was knocking on the door and there were no working computers" at the time of her hire in 2011. Against strong resistance, Jayaram shut down the newsletter and consolidated the organization's services to rescue it from financial ruin. Soon after, she negotiated a lease in the West Loop on the first floor of the former Flatfile Gallery. Its director Susan Aurinko, who remains on the CAC board of directors, offered the space as an opportunity for the organization to grow and change course. Jayaram and Lederer seized the chance, going into the basement of the new space shortly after the move and taping out studio spaces on the concrete floor. As the traditional co-op gallery continued to run upstairs, Lederer developed BOLT, the studio residency that continues to be one of the organization's touchstones. Without access to grants, the CAC felt forced to charge artists for their participation, a decision that riled many. Jayaram insisted that, funding or not, artists needed to put a financial stake in their studio spaces in order to cultivate their agency in the program.
Lederer worked closely with the early cohorts to design a residency around artists' needs. The studios were open-plan to save space and foster community. The first-floor gallery was divided into a smaller gallery for solo shows and a larger space for group shows. Eventually, the co-op gallery became HATCH, a yearlong curatorial mentoring program during which four resident curators work with twenty-four guest artists. Once a month, the programs host potlucks to discuss pressing issues or provide critiques. Professional development workshops grew from these conversations, a program that is now under FIELD/WORK, which is open to the public and which current residents attend for free. All three of these core initiatives remain in place, a longevity that Lederer attributes to their being fundamentally artist-centric. And, although Lederer departed from the Chicago Artists Coalition in 2014 to pursue independent arts consulting, she continues to refer to the CAC team as "we," a testament to the strength of the relationships fostered within the organization.
Under Jayaram's leadership, the CAC hosted its first annual fundraiser, called "Starving Artist"—later changed to the more tasteful title "Work In Progress." It negotiated the acquisition of the Chicago Artists Resource website from the city of Chicago, a site that hosts job listings in the arts as well as exhibition announcements, professional development resources, and a "spacefinder" page for artists seeking studios and other creative facilities. In some ways, the CAR takeover recouped some of what the CAC had let go by ending the newsletter. In 2012, the Andy Warhol Foundation gave the CAC its first major grant, buoying the BOLT Residency at a crucial moment in its early years. After Jayaram left to head up the Chicago-based United States Artists in 2014, Caroline Older came from the Chicago Humanities Festival to lead the organization.
Caroline Older, Executive Director of the Chicago Artists Coalition, with artwork by 2017-2018 BOLT Resident Melissa Leandro/Photo: Miao Wang
Older considered the very real possibility of a move as soon as she took the helm. Thanks in no small part to the success of the artistic community in the neighborhood, warehouses were being converted into loft apartments and meatpacking facilities into high-end restaurants. This was four years ago, and the West Loop still looked like the commercial-industrial zone it once was. Aurinko and her partner, who still lived above the exhibition spaces in their private apartment, were preparing to sell the property. As Older began to look for new spaces outside of the West Loop, the CAC extended its lease twice to accommodate the complex process of moving an arts nonprofit.
Older makes the move sound simple, but it was everything but. Nonprofits are not like private corporations—they run on low reserves and rely on constant donations and grants to keep going. If something as monumental as a move needs to happen, it takes years of feasibility studies, a capital campaign and sign-offs from the board of directors all along the way. Fortunately, Older had Jeffrey Shapack, a West Loop real estate developer, on the board of the CAC. Together with a broker and Teresa Silva, their director of exhibitions and residencies, they looked at forty properties in three neighborhoods over three grueling days. They also got help from the MacArthur Arts and Culture Loan Fund, a unique support structure that provides smaller arts organizations with short-term loans to mend cash flow shortages. The borrowers undergo days of training to prepare for the loan application, and MacArthur steps in as the guarantor. The CAC is using the loan to pay for operations while their reserves pay for the move and buildout. It's a delicately choreographed dance, but it is not Older's first. In her tenure as the director of development at the Art Academy of Cincinnati, Older completed a capital campaign and a move to a new building. She also battled it out with budget-slashing politicians when she was executive director of Michigan's Grand Rapids Arts Council during the 2008 recession. "Life is not linear, but stay true to your passions," Older advises. In many ways, it seems her experiences have prepared her precisely for this moment.
Kaveri Raina, 2016-2017 BOLT Resident, and Michael Slaboch, in her BOLT Residency studio space viewing Kaveri's artwork./ Photo: Sarah Khalid Dhobhany
The new space—in an area that one board member calls "Fulton Market West"—is 6,700 square feet in a building with many more units to spare in case the CAC wants to expand later. Technically, that means the organization is scaling down from its current footprint, but Older justifies the smaller size by pointing to the custom buildout, which offers more efficient use and a dedicated space for educational programs. And, for the first time, the CAC will have ADA-accessible galleries. In a light industrial-zoned area full of warehouses, the Kinzie Industrial Corridor "reminds me of what the West Loop must have been like when the CAC first came here," says Older. She points out that there was no Morgan stop when the CAC opened in the West Loop and that, in 2020, the Damen Green Line stop will open two blocks from the new space. "We know that the arts often lead the way in developing a neighborhood and making it more interesting. What made the West Loop exciting to people was having arts organizations here."
Older describes the transition as seamless and notes that no artists will be displaced. Current studio residents were already scheduled to move out at the end of June. The final exhibitions in the West Loop facility will close on June 23, and the first exhibitions in the new space will open only six days later. The CAC has always maintained a grueling exhibition schedule, but that, too, will thankfully change. As the group moves to eliminate all artist fees, they will also reduce the number of residents and extend the length of each show. This amendment, according to Older, is about longevity and getting "the right people, the people the artist needs in front of their work, to see the show." As a critic who rarely covers these exhibitions precisely for how quickly they come down, this is reassuring news. The CAC often exhibits work by some of Chicago's most promising emerging artists, and they more than others need the press coverage. Most importantly, knowing that they will no longer have to pay to be residents is, as Lederer puts it, "a dream come true."
2017-2018 BOLT Resident Jean Alexander Frater in her BOLT Residency studio with her artwork/Photo: Miao Wang
Speaking with her in her basement studio at the current Carpenter street space, painter and current BOLT resident Jean Alexander Frater tells me she's no stranger to being kicked out of the neighborhood. Her previous studio had been at the same building on Peoria that formerly housed Threewalls and Aspect/Ratio, a complex that is now all condos. "The building sold and the application for CAC came up. It was perfect. I had always wanted to apply to the BOLT, but having a studio already, I felt conflicted, especially because you had to pay for it," says Frater. The artist will move out of her studio when the building changes hands, but her solo exhibition will be the first to mount in the new space. "I am holding onto this neighborhood," she says. "It's the end of an era for many."
For her show, Frater had originally conceived of making architecturally-sensitive, site-specific paintings responding to the conditions of having a studio alongside the gallery that would eventually show her work. Once the move was finalized, Frater took a different direction, painting massive canvases, cutting them into strips, and weaving them over stretchers into large, sagging compositions. Painting in a basement with little natural light has been a major challenge, and she's grateful that future residents will enjoy natural light in the new space. Despite the lighting, she speaks effusively about having a studio here. "It's not a residency where you go to this bucolic place to contemplate and get away from life—it is totally embedded in life. You have to work, you have to fit in studio visits, an exhibition, your work, your life. It's super valuable in every practical sense." Of her cohort, she has even higher praise, saying "Everyone here is serious but really fun and warm."
Leaving the Chicago Artists Coalition after hours of interviews and archive-digging, I stood on the Morgan El platform looking westward toward my incoming train. Somewhere in the distance was the Kinzie Industrial Corridor and the new home of the CAC. Scanning down, I noticed banners on the streetlights below that read: "Since 1918: West Central Association Chamber of Commerce." They looked new, and I had certainly never noticed them in all my years visiting the West Loop. Thinking back, I tried to remember what this neighborhood looked like when I first visited it, but I could no longer picture it. The forces of change are inevitable, but the forms they take are not. If the arts truly lead the way in America's post-industrial economy, they deserve all the credit—and support—that they need.
The Chicago Artists Coalition "Work In Progress" benefit gala will take place on June 7 at 2130 West Fulton Market. "The Annual," CAC's yearly fundraising exhibition, will take place in the fall.
Elliot Reichert
Elliot J. Reichert is a Chicago-based curator, critic, and editor. He is a currently Curator of Contemporary Art at the Eskenazi Museum of Art, Indiana Unversity, and Hatch Projects Curatorial Resident at the Chicago Artist Coalition. Formerly, he was Art Editor of Newcity and Assistant Curator at the Block Museum of Art, Northwestern University. His writing has been published in The Brooklyn Rail, the Journal of Visual Culture, and Newcity.
www.elliotjreichert.net
There Goes the Neighborhood: A Review of "The Strange Fields of This City" at the Chicago Artists Coalition As a non-profit gallery flees the West Loop's rising rents, an exhibition lingering on themes of gentrification and displacement makes for an ironic farewell.
Traces of Absence: A Review of SaraNoa Mark at Chicago Artists Coalition By drawing awareness to the phenomena of extraction and recasting of objects in new geographic and political contexts, Mark foregrounds the growing tensions between the tightening of borders and an ever-intensifying movement of global human and material flow.
Contending With the Object: A Review of Tracing Faults at Chicago Artists Coalition By skewing an object's function, the artists in this exhibition push for a change in perspective.
Delicate Decolonial Dreams: A Review of "Leaf by Leaf" at Chicago Artists Coalition The work of three resident artists harmonize around landscape, environment and decolonial visions.
Imaging the Body In Analog: A Review of "Body As Image" at the Chicago Artists Coalition Curated by Sabrina Greig, this group show of three CAC HATCH residents challenges our digital present with figurative pictures with an analog feel.
A Milwaukee Artist Finds Power in the Quotidian: A Review of Ariana Vaeth at Lynden Sculpture Garden This exhibition marks a significant formal leap for this young artist.
Andrew Rafacz Gallery
Art Academy of Cincinnati
Aspect Ratio Projects
Carolina Jayaram
Chicago Artists Coalition
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Department of Cultural Affairs and Special Events
Flatfile Gallery
Frank Mannarino
Grand Rapids Arts Council
Paris London Hong Kong
Rhona Hoffman Gallery
Robert Dilworth
Susan Aurinko
Teresa Silva
Thomas McCormick Gallery
Volume Gallery
Western Exhibitions
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When you have a country as huge as Brazil with uncountable amounts of raw materials coming from every corner of its land if you work or have some connection in the food industry you have the responsability of showing the world what, who and how it keeps it going.
Food Forum is one of this vehicles.
On its second edition this year, they gathered a line of talented speakers, each and everyone with their own stories, battles, ups & downs, victories, losses and success.
Sadly brazilian government likes to make it harder and that was one of the issues strongly discussed by the speakers when saying that giving up is not an option so their battles just gets more challenging if not complicated.
Roberta Sudbrack and Eliane take on Food Forum stage to talk about how her last coversation with her grandmother, mother, saviour Iracema was a landmark in her life. Eliane in the mean time cooked live a "goibada no tacho" as the mineiros do!
I mean, if you are a just a tiny bit literated about brazilian food, the real brazilian food that's to say, you know that they have ingredients most chefs around the world would dream to have in their own kitchen everyday, every season.
Dutch born and brazilian by adoption Tini Schoenmaker & Joop Stoltenborg became organic farmers just outside São Paulo 50 years ago.
It was one of the most touching, up close and personal talks! Beautiful!
A few chefs took that international step in promoting our culture but also proudly belongs to a very special crowd of people that makes it happen right there and than inland.
Local farmers, those that put their hands on soil everyday to feel their harverst. Small, or not so small realities of organizations built by people that grew up with some sort of food and rural influence at home, cooks, chefs, bakers, nutritionist, restaurateurs.
Ana Luiza is one of the most down to earth ladies in the brazilian food scenery. She is a renown brazilian food researcher and President at Instituto Brasil a gosto.
Their names and actions speak form themselves. So they are here to protect, defend what Brazil has as most precious. Their origins.
American jornalist Michael Moss was sranded in NYC due to snow storm but he was there with his registered talk and the audience loved it!
Just last week an old story came back in the picture regarding agrotoxics. Did you know that 70% of brazilian production is touched by some sort of agrotoxic?
There is a huge lobby in the senate as 44% of deputies are members of bancada ruralista making them related to Frente Parlamentar Agropecoária. In other words they play the interest of big coorporations that sell toxic products.
Project 6.299/2002 was created to protect the health and integrity of food production ("Lei do Alimento Mais Seguro") back in 2002 and has since been "seating" on senate's "to be discussed and voted" files. However the return in the news was not in a positive light as lobbists are arranging to vote in favor of, yet one more new projetc created to put it down the one on stanby.
There has been an immense noise on social media where posts with protets came flooding in.
They are all waiting to see what will come out of it.
Ivan talks about him being a hispter chef and how important excellence of brazilian ingredients are for his minimalis menu.
In the mean time people like these guys here will carry on their outstanding work to protect and promote brazilian food culture inland and abroad.
A great audience, speakers and guests.
Last but not least an immense bravo to Food Forum dream team under Charles Piriou & Ailin Aleixo guidance!
Food Forum dream team at the end of a very mind blowing day!


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Monkey Gland Cocktail
Citrus Recipes
Total: 3 mins
Cook: 0 mins
Yield: 1 cocktail (1 serving)
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Of all the drinks in the world, the monkey gland can quickly become a favorite. It's a little tricky, but if you get the balance of flavor right, this classic cocktail with a sordid history that explains its unusual name is phenomenal!
The sweetened combination of gin, orange juice, and grenadine makes a really nice drink. It's only with the hint of absinthe that the drink becomes truly interesting. Most recipes for the monkey gland suggest a splash of absinthe or one of its many substitutes, but there's something to the subtlety of rinsing the glass. This creates a nice, fruity cocktail with the slightest taste of anise as a contrast and the aroma itself is intoxicating and delightful.
1 ounce orange juice
1/4 ounce grenadine
Dash of absinthe
Garnish: orange slice
Gather the ingredients.
Swirl a dash of absinthe in a chilled cocktail glass to coat it, then dump out any excess liqueur.
In a cocktail shaker filled with ice cubes, pour the gin, orange juice, and grenadine.
Shake well.
Strain into the prepared glass.
Garnish with an orange slice or a burnt orange peel.
The Story of the Monkey Gland
The monkey gland is not the typical drink name and its origin is, well, interesting to say the least.
In his 1922 "Harry's ABC of Mixing Cocktails" book, Harry McElhone (owner of Harry's New York Bar in Paris) took credit for the invention of the monkey gland. He also claims that the name was inspired by the 1920s experiments of one Serge Voronoff.
This was well before the time of Viagra and it's many male enhancement counterparts and Voronoff was experimenting with various implants. The most famous of these was the grafting of monkey testicle tissue (or monkey glands) to human testicles.
Voronoff became well-known for this rather shocking technique. Over time, he received a considerable amount of ridicule for it as well. He died in near obscurity in the 1950s.
So, there's the story behind the drink. If nothing else it's great trivia while you're sharing a round of monkey glands with friends!
Recipe Variation
During the time that absinthe was illegal in the U.S., many bartenders learned to make this drink with Benedictine. While this is also a worthy libation, it has an entirely different profile.
How Strong Is a Monkey Gland?
Though absinthe is a high-proof spirit, the dash needed to rinse the glass is not significant enough to make the monkey gland a terribly strong drink. It's not a lightweight either, though! On average, this cocktail's alcohol content should fall somewhere around 22 percent ABV (44 proof). That's about the same as a cosmopolitan, though this drink promises to be a lot more fun!
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Surrounded by 16 acres of Surrey countryside, Hartsfield Manor is a four-star Victorian property boasting elegant interiors and a garden terrace. Guests can make the most of the on-site gym or head to the nearby Chessington World of Adventures or the quaint Hampton Court Palace.
Decorated in a classic style, the en-suite rooms come complete with smart TVs, safes, and bathrooms with hair dryers and Molton Brown toiletries.
Dining is a fine experience at the on-site restaurant taking pride in quality ingredients, while light bites and an array of drinks can be sampled at the bar lounge.
Visitors may start their journey with a visit to the Hampton Court Palace, an imposing palace dating back to the 16th century, home to royal families. Various animal species may be seen at the British Wildlife Centre, while other outdoor activities come in the form of the Daytona Sandown Park, a suitable place for kart racing enthusiasts. A scenic landscape may be admired while visiting the Virginia Water alluring holidaymakers with its ornamental cascade, calm lake and woodland.
Valid 29 Mar, 5 Apr, 20 Apr, 28 Apr or 5 May 2019, as per option chosen.
Must book within 14 days of purchasing the voucher.
Booking required by phone: 01737 845300, and subject to availability.
Limit 1 voucher per stay. Can buy multiple vouchers as gifts.
The hotel is located in Betchworth, Surrey, UK.
Upgrade to a junior suite available for £30 per stay, payable to the hotel directly.
A limited number of Manor House Rooms are available and offered on a first-come, first-served basis.
Dinner is a three-course set menu meal.


Used throughout the ages as a natural repellant for moths, silverfish and other insects, Red Cedar balls can be placed throughout your closet or laundry room. When the scent wears off, lightly sand with fine sandpaper. Do not place directly on clothes as the wood contains natural oils that can transfer to cloth.


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Hudson Ward of Goole
I'm a bit behind with my blog posts so far this year. It seems to have been a busy few weeks and I have been researching several topics which have come up in discussions with my local history friends. We have been looking particularly at the history of Spaldington and the Vavasour family who lived there and have found a surprising amount of information.
But what I wanted to write about today was the Hudson Ward premises in Goole. This iconic building is in the process of being demolished and will be sadly missed as part of Goole's skyline.
The three cottages in Princess Street, which were used partly as offices were demolished a few weeks ago.
Recently the building showed the TimmGrain logo but before that the name Hudson Ward was prominently painted on top of the silo.
Here is a vessel moored in South Dock showing the silo and next to it on the left the original roller mill.
In February 1886 the Aire and Calder Navigation leased a half acre plot in Albert St [which included 11 tenanted cottages] for 106 years to Thomas Francis Hudson of Conisborough, Robert Robinson and Thomas Hanley, both of Doncaster.
On this site was built a five storey high brick building [constructed by Arnold and Sons of Doncaster. The same firm later built the second Goole water tower].
The building was designed as a roller mill to mill flour from imported wheat. The machinery was supplied by ER and F Turner of Ipswich.
It was innovative and even more so when it was equipped with electric lighting in 1889 supplied by Wilson Hartnell of the Volt Works in Leeds. Apparently Robert Robinson had visited America in 1883 to gain ideas on mill design - using electric lighting was one of them as it was safer than gas in a flour mill.
In 1893 the partnership of Hudson, Robinson, and Hanley was dissolved and a new company was officially registered to be known as Hudson Ward and Co. Ltd. at Dock Mills, Goole.
The subscribers were : Thomas Hudson, his wife Florence [nee Broadbent] , Robert Robinson [who was Thomas's brother in law and married to his sister Alice], Thomas Hanley and his son George and John and Kate Ward.
Soon afterwards Robert Robinson retired from active partnership and eventually, after travelling the world, returned home and became mayor of Doncaster. Thomas Hanley, who had a large mill in Doncaster too, died in 1903 so this left the Goole mill to be run by Thomas Hudson.
But we must not forget the new name - John Ward. John was born at Clifton Campville in Staffordshire. In 1881 he was a miller in Sheffield living with his wife Amelia. In 1891 he was aged 48 and was a flour milling engineer in Rochdale. By 1901 Amelia had died and John had re-married.
He and his wife Kate and their three children John Wigfull, Nellie and William Rickett were living in Railway Street in Snaith. John was a 58 year old corn miller. Their 9 year old daughter Nellie had been born in Rochdale but 5 year old John had been born in Goole.
But the family did not stay in the area for long. In 1911 they were living at Sheene Mill, a traditional weatherboarded watermill in Melbourn near Royston in Cambridgeshire. The mill is now a wedding venue. John Ward died in 1915 leaving £2000. His widow Kate and son John 'Jack' continued the business.
They may have kept their shares in the Goole firm of Hudson Ward - their name certainly lived on - but the Wards do not seem to have had any hands on connection with the mill after they left the area.
So that leaves the Hudson family.
Thomas Francis Hudson was born in 1856 at Finningley. His father was a farmer and miller and young Thomas had, for a time, charge of a watermill at Conisborough.
Thomas and Florence had three sons - Francis Jennings, Reginald Peace and Vernon Broadbent- all born at Goole. By 1901 the family were living at Thorne. Francis, who died in 1972 leaving £27,000, was a mining engineer but Reginald and Vernon actively took part in the Goole milling business.
Thomas died in 1930 at Bridlington, having 'partially retired' in 1928 but was still visiting the mill once a week. He was a Wesleyan, supporting both the Goole Boothferry Road and North Street chapels. He also served as a governor of Thorne Grammar school. He was buried at Thorne after a service at the Thorne Wesleyan chapel.
The Hudson Ward tableau for the Goole 1926 centenary celebrations
In 1947 Vernon Hudson became mayor of Goole. The newspaper report reads
Coun. and Mrs Vernon B. Hudson, of Vernon House, Old Goole, have accepted the invitation of Goole Borough Council to become the town's next Mayor and Mayoress. Coun. Hudson was elected as a South Ward representative on the Council in 1933, the year thai Goole became a borough, He is president of Goole Chamber of Commerce and Shipping and managing - director of the firm of Hudson, Ward and Co., Ltd., of which his father, the late Mr T. F. Hudson, was founder. Coun. Hudson is a member of the National Association of British and Irish Millers and sits on the industrial and negotiating committees. He has also been chairman of the National Joint Industrial Council for the Flour Milling Industry.
The German coaster Collhusen unloading at Goole. The original Victorian mill is in the background
The firm of Hudson Ward ceased trading in 1973 and the silo eventually became part of the Timmgrain operation. The original mill was demolished ?in the 1980s and now in 2019 the silo which features in the Dambusters film has gone too.
Posted by Susan Butler at Wednesday, March 06, 2019 No comments:


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New PETA Video Exposes 'Giraffe Cam' Sham
Harpursville, N.Y. – Animal Adventure Park, a roadside zoo in upstate New York, just released another livestream video of a giraffe named April giving birth to her sixth baby—and now, a new PETA video exposes the dark side of breeding her and other giraffes over and over again in a cheap bid for publicity.
In the video, PETA Foundation Supervising Veterinarian Dr. Heather Rally explains that, although giraffe mothers and their offspring form strong bonds and, in nature, may stay together for their entire lives, all of April's offspring have been taken from her before they reached 18 months old—some almost immediately after birth—and most have been sent to other roadside zoos. These facilities often fail to meet the animals' most basic needs, and most of them have been repeatedly cited for animal-welfare violations.
"Animal Adventure Park is using a sensitive animal as a birthing machine and sentencing her young, dependent offspring to equally miserable lives in captivity," says Dr. Rally. "PETA urges everyone to turn away from the sordid 'giraffe cam' and to demand that this facility end its harmful breeding program and stop treating a mother's vulnerable, intimate moments of giving birth like reality television."
PETA—whose motto reads, in part, that "animals are not ours to use for entertainment"—opposes speciesism, the human-supremacist viewpoint that other species are ours to breed, display, and sell for profit or amusement. More information about April is available here.


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Want a More Colorful, Natural Garden? Try a Perennial Meadow
Perennial plants have been a favorite in gardens since the first days of the cottage garden, when the benefits of plants that were long lived, easily propagated and generally hardy due to their ability to survive winters by dying back to the ground were of importance to gardeners with little money to spend on gardening.
As our gardens evolved, so did our use of perennials. When I was a horticulture student in the 1960s, the traditional herbaceous border featured large in our garden design lectures. Today, no doubt, students learn more about the naturalistic prairie style of planting perennials, championed by Dutch garden designer Piet Oudolf and landscape architecture firm Oehme van Sweden. And now there is a third generation of perennial planting, best known by some garden designers — including Michael King, writer and perennials expert — as the "perennial meadow," which uses the best parts of both the previous formats.
The traditional perennial or herbaceous border combines a great variety of plants in drifts and swaths of color linked in a very stylized manner; the more naturalistic prairie style of planting has shown us how to incorporate grasses and perennials grown in conditions closer to those found in their natural state — using the right plants in the right place.
Modern perennial meadows are a mixture of colorful perennial plants and grasses that are planted in groups and drifts to create plantings in a naturalistic style, using a restricted planting palette and plants that happily grow together to form a stable community.
The perennial border popularized in Victorian gardens was labor intensive and very seasonal, requiring a great amount of horticultural skill to create a stunning kaleidoscope of summer color. Garden designer Gertrude Jekyll included intricate, colorful borders in many of her Arts and Crafts–style gardens. Maintaining these borders required splitting the perennial plants and replanting every three to four years to maintain their vigor, staking and trying to keep plants in order, and deadheading and weeding throughout the season to keep the border tidy.
The design of the perennial meadow has changed the way we interact with the plantings. Whereas the herbaceous border was created as a focal point, or a feature to be viewed, rather like a painting, the perennial meadow takes its form from the prairie style, where we are surrounded by the plantings or are led through them by pathways. The perennial meadow gives us the opportunity to use a wide range of plants and grasses to create a stylized version of a traditional meadow that perhaps has nostalgic resonance with our past.
Prairie planting, the second generation of perennial use in garden design, can be seen as a much freer form of planting, using a mixture of perennials and grasses in an open field or prairie. Though spectacular in larger spaces, like Queen Elizabeth Olympic Park, in London, or Lurie Garden, in Chicago, this style of perennial planting can seem formless in the small garden; it's difficult to implement as a feature within a garden. Noel Kingsbury, coauthor of The New Perennial Garden, does, however, suggest that strips of around 3 feet, or 1 meter, across can be planted to effect.
The planting of the perennial meadow is a lot freer than in the herbaceous border and prairie planting, with the accent on providing foliage and, especially, flower color through as long a season as possible. There is no attempt to emulate nature, as in prairie-style planting, but to create an association of plants that will happily grow together, in swaths and drifts, interlocking as they do in nature.
Here we can see how drifts of intermingling plants almost emulate nature in the way they grow in this perennial-meadow style of planting. Both the meadow sage (Salvia xsylvestris 'May Night') and fern leaf yarrow (Achillea x 'Moonshine') used here are improved cultivars of very common native plants that retain the natural form yet have better flower quality and a longer flowering season.
One of the benefits of this generation of planting is being able to use a wide range of plants, not necessarily native to the zone or country, but because they suit their position in the overall design.
Planting a perennial meadow requires the same skill in plant placement as other forms of planting do, including the techniques of grouping and repetition.
The black-eyed Susans and pink sedums in this long border are planted in groups and repeated, creating a visual link along the border. The planting is tight to form a low-maintenance ground cover that gives the impression of a living tapestry of color and texture. Because more modern compact varieties of perennials and tight plantings were used, there is little need for time-consuming tying, staking and weeding of plants in season.
Though not natural, as prairie planting also isn't natural in the true sense, perennial-meadow-style planting can also have environmental benefits.
A mixture of grasses and flowering perennials provides habitat and food for a wide range of insects and birds, while having a low environmental impact. Any cutting back of flowering stems should not be carried out until the spring, to allow birds to enjoy the resulting seed heads while they use the dried foliage for nest building.
Earlier this summer I visited Bishopscourt, the garden of the Bishop of Rochester, in the southeast of England. At the rear of the garden, where there had once been a traditional parterre, now stands a wonderful example of a perennial meadow. Flowering perennials and tall grasses intermingle in a profusion of color.
This planting requires less maintenance than the traditional parterre would have and provides color throughout a longer season and additional environmental benefits — on my visit the border was alive with butterflies feeding.
Garden styles and systems can never be set in stone, and this includes the use of perennial plants. Future garden designers may choose to go back to the formal layout of the traditional herbaceous border and cast aside the more flowing lines of the perennial meadow. We may even see these styles combined, as with the long perennial border in the contemporary garden seen here.
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Emerald City Emergence: Seattle and the New Deal
by Richard Morrill 08/12/2008
Seattle voters, if not the city's newspapers, were strong supporters of Franklin Roosevelt and the New Deal in the 1930s and 1940s. As in many parts of the country, New Deal programs had a profound effect on Seattle and Washington state.
Seattle was a city dependent on industry and trade, and was hard hit by the Great Depression. The most famous and highly visible manifestation was the creation of a large shantytown worker settlement called Hooverville, spurred by the Unemployed Citizen's League located on city land just south of downtown (where giant football and baseball stadiums are now!). The city burned it down after a week, the workers rebuilt it, the city burned it down again, and it was again rebuilt, this time with tin roofs. It was occupied until the end of the Depression. Its first mayor was a Jesse Jackson, who served as liaison to City Hall. A special census of 1934 counted 632 residents in 490 dwellings.
Even before then, Seattle and the state of Washington were already infamous for their radicalism, having spawned the only general strike in the nation's history (1919), and the Centralia and Everett massacres, (1916, 1919) in which company goons fought with IWW (International Workers of the World) workers. Seattle also had an early history of public ownership, notably municipal power starting in 1902.
Not surprisingly, then, the prospect of federal-sponsored programs, jobs and some constraints placed against the perceived excesses of Big Capital was highly appealing and resulted in huge victories for Roosevelt and the Democrats in 1932, 1936 and 1940. In 1916, Anna Louise Strong, a communist, was elected to the Seattle School Board. Indeed, James Farley famously referred to "the 47 states and the soviet of Washington." Seattle and Washington's most successful and powerful political leader, Warren Magnuson, began his congressional career in 1936 from Seattle's first district, and remained an unreconstructed New Dealer until his retirement from the Senate in 1981.
Another powerful figure was Dave Beck, who took over the local Teamster's Union in 1936. Beck played a critical role in forging a less confrontational relation to capital than the more radical Harry Bridges of the Longshoremen.
Within the City of Seattle and suburbs, the WPA left an enduring legacy: bridges and retaining walls and drainage systems, parks and playgrounds, roads and trails, sewers, recreational facilities and programs, sewing for the needy, airports, streetcars, low income housing, and programs for musicians, artists and writers. For example the Federal Artist Project employed the well-known artists Kenneth Callahan and Morris Graves.
New Deal activities across the rest of the state were even wider and larger in scope. The greatest New Deal project by far was the Bonneville Power Administration, the Bureau of Reclamation's construction of dams along the Columbia, culminating in the giant Grand Coulee Dam that drove the development of the Columbia Basin irrigation project, the nation's largest. Seattle City Light's J.D. Ross became the first director of Bonneville Power.
The WPA and the CCC (Civilian Conservation Corps – also known as the "forest army") also completed hundreds of less spectacular but amazingly successful and lasting projects in the national forests and parks, and communities across the state. Perhaps most amazing was the government's direct sponsorship of several rural utopian communities.
Today, although the real liberal voices of the New Deal era are now gone, the Seattle region remains somewhat "left" by national standards. But its radical, egalitarian soul has been largely lost. In 1975 Seattle was one of the nation's most egalitarian cities, a legacy of the New Deal and its powerful, well-paid blue collar economy. Today it is now one of the most unequal!
Of course, this does not stop the local establishment and media from viewing itself as "progressive." In 2008, there are no Republicans on the Seattle City Council, and no Republican from any Seattle district and few that hail from suburban districts in the Washington state legislature.
But the meaning of "progressive" today is utterly foreign to what it connoted in New Deal days. The metropolis is very highly planned, under the Growth Management Act, but the goals and policies are entirely by and for the affluent professional class: subsidies of opera houses, stadiums, replacement of public housing by "integrated developments" with high shares of market rate units. There's an unfortunate concentration of transportation investment in astoundingly expensive rail transit, which would mainly serve affluent commuters to downtown Seattle and a density-oriented strategy to replace single family homes, many smaller homes from the '20s and '30s, with miles of family-unfriendly apartment towers. It all boils down to encouragement of drastic gentrification, with wide displacement of the poor and minorities to suburbs south of the city, and tight urban growth boundaries, resulting in severe housing price inflation, while preserving "open space" for 20 acre suburban estates! And, I believe, the most regressive tax structure of all 50 states.
One has to wonder what the New Dealers back in the 1930s and 1940s would think of our proudly "progressive" Seattle politics today. Likely not much.
Richard Morrill is Professor Emeritus of Geography and Environmental Studies, University of Washington. His research interests include: political geography (voting behavior, redistricting, local governance), population/demography/settlement/migration, urban geography and planning, urban transportation (i.e., old fashioned generalist).
The photo is of a retaining wall built by the WPA at the Cascade School in Seattle. Courtesy of the Seattle Municipal Archives Photograph Collection.
50 Years of US Poverty: 1960 to 2010
Fifty Years of Population Change in the US: 1960-2010
Local and State Tax Burden Maps
Rich, Poor, and Unequal Zip Codes


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HS2 appoints sustainability consultants
By Vern Pitt2013-06-21T12:03:00+01:00
Temple and RSK awarded contract to support further development of the northern route
Source: TheJRB
Consultants Temple and RSK have been appointed to appraise the sustainability of the northern section of High Speed 2.
The firms will support developer HS2 Ltd at its consultation events and assess the sustainability of refinements to the scheme's lines running from Birmingham to Manchester and Leeds.
The £1.5m contract will also entail the firms supporting HS2 ltd with development of the final scheme after the consultation is finished.
Beth West, HS2 Ltd commercial director said the £33bn HS2 project would give "a significant boost to the engineering and environmental sectors".
She added: "This contract award is a positive sign of the progress that continues to be made on phase two beyond Birmingham as we move toward the public consultation later in the summer on the initial preferred route that was published at the end of January."
Knock-on costs of HS2 total £80bn
Study by the Institute of Economic Affairs argues scheme is poor value for money
HS2 legal challenges dismissed
Court of Appeal rejects seven challenges against government's approval of the project
HS2 budget swells by nearly £10bn
Budget for construction of line between London and north of England rises by nearly a third to £42.6bn