As well as full static suspension upgrades we can also install full air ride set up to your van, Air is the ultimate in comfort and style. Get low at the shows, ride on a pillow of air for day to day driving and if you need to get in to a rough campsite fully air up and drive in with no problems!
More details and Pics of installations to follow, in the mean time please get in touch for more info and pricing.


text:
#include "catcpadapterutils_eth.h"

#include <Arduino.h>
#include <Ethernet.h>
#include <socket.h>
#include <w5100.h>
#include <EthernetUdp.h>
#include <IPAddress.h>

#include "logger.h"
#include "cacommon.h"
#include "caadapterinterface.h"
#include "caadapterutils.h"

#define TAG "IPU"

CAResult_t CAArduinoGetAvailableTCPSocket(int *sockID)
{
    VERIFY_NON_NULL(sockID, TAG, "sockID");
    //Is any socket available to work with ?
    *sockID = 0;
    for (int i = 1; i < MAX_SOCK_NUM; i++)
    {
        uint8_t state = W5100.readSnSR(i);
        if (state == SnSR::CLOSED || state == SnSR::FIN_WAIT)
        {
            *sockID = i;
            break;
        }
    }

    if (*sockID == 0)
    {
        OIC_LOG(ERROR, TAG, "sockID 0");
        return CA_SOCKET_OPERATION_FAILED;
    }

    return CA_STATUS_OK;
}

CAResult_t CAArduinoInitTCPSocket(uint16_t *port, int *socketID)
{
    OIC_LOG(DEBUG, TAG, "IN");
    VERIFY_NON_NULL(port, TAG, "port");
    VERIFY_NON_NULL(socketID, TAG, "socketID");

    CAResult_t ret = CAArduinoGetAvailableTCPSocket(socketID);
    if (ret != CA_STATUS_OK)
    {
        OIC_LOG(ERROR, TAG, "get sock fail");
        return ret;
    }

    //Create a tcp socket on which to recv/send.
    if (!socket(*socketID, SnMR::TCP, *port, 0))
    {
        OIC_LOG(ERROR, TAG, "sock fail");
        return CA_STATUS_FAILED;
    }
    OIC_LOG_V(DEBUG, TAG, "socketId:%d", *socketID);
    OIC_LOG(DEBUG, TAG, "OUT");
    return CA_STATUS_OK;
}

redpajama_set_name: RedPajamaGithub


text:
Star cyclist Ullrich found guilty of doping
9 Feb, 2012 Updated Thu 9 Feb 2012 12:24 CEST
Germany's most famous cyclist Jan Ullrich was found guilty of doping and stripped of his third place in the 2005 Tour de France by the Court of Arbitration for Sport (CAS) on Thursday.
"Jan Ullrich is sanctioned with a two-year period of ineligibility starting retroactively on 22 August 2011," the official CAS statement said. "Furthermore, all results achieved by the athlete on or after 1 May 2005 until his retirement are annulled."
The ruling does not affect his victory at the 1997 Tour de France.
The court in Lausanne, Switzerland, found that Ullrich was caught up in the doping affair surrounding Spanish doctor Eufemiano Fuentes.
Fuentes provided doping services to several athletes, and the court ruled that there was clear evidence that Ullrich had contact with him, and paid the doctor more than €80,000 for his services. The court concluded that Ullrich, who retired in 2007, was guilty of blood doping.
CAS dismissed all of Ullrich's appeals related to procedure and to applicable law, and "expressed surprise" that Ullrich did not question the veracity of the evidence.
But CAS also rejected the International Cycling Union's demand to have Ullrich banned from all cycling-related activities for life, "considering that the first doping offence that he committed in 2002 was due to the ingestion of amphetamines out of competition."
The court, noting that by current rules amphetamines are only considered doping when ingested in competition, decided he was not a repeat offender.
The 38-year-old Ullrich has consistently denied all charges.
#cycling #tour de france #doping

redpajama_set_name: RedPajamaCommonCrawl


text:
filter your search All Scholarly Publishing CollectivePenn State University PressBulletin for Biblical Research
The Sevenfold Form of the Lord's Prayer in Matthew's Gospel Revisited
Charles Nathan Ridlehoover
North Raleigh Christian Academy
Bulletin for Biblical Research (2021) 31 (1): 39–53.
https://doi.org/10.5325/bullbiblrese.31.1.0039
Charles Nathan Ridlehoover; The Sevenfold Form of the Lord's Prayer in Matthew's Gospel Revisited. Bulletin for Biblical Research 8 April 2021; 31 (1): 39–53. doi: https://doi.org/10.5325/bullbiblrese.31.1.0039
Commentators on the Lord's Prayer in Matthew's Gospel have long admired its well-crafted liturgical poetry. The prayer is concisely and carefully worded and has a discernible structure. A number of recent studies of the prayer have noted the shape of the prayer and settled on a six-petition/two-halves model. In view of this and of recent interest in how form effects meaning, it seems appropriate to revisit the important issues and to suggest some ignored aspects of the prayer's balance and symmetry. This article will argue that the Lord's Prayer consists of seven petitions concentrically arranged around the fourth petition. Particularly important and often ignored is Matthew's chosen context, the Sermon on the Mount. The Sermon on the Mount has a concentric structure that parallels the prayer's structure and has several intratextual links with each petition of the prayer. These individual links between the prayer and sermon evidence the importance of seven petitions instead of six. In addition to context, the structure of the Lord's Prayer is marked by verbal patterning, thematic consistency, and internal structuring.
Sermon on the Mount, Lord's Prayer, structure, petitionary prayer
Copyright © 2021 by The Pennsylvania State University. All rights reserved. No copies may be made without the written permission of the publisher.
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Your Kingdom Come, Your Will Be Done: A Study of Matthew 6:10
Breathing, Parsing, Praying
Paradigm of Peace, Silly Satire, Text of Terror: Perspectives on Matthew 5:38–48 for Immigrant Populations
Christianity, Darwinism, and War: A Paradox
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text:
Q: MERGE using Rowid Oracle Conversion in Postgres Can some help me the best way convert the below Oracle code to Postgres
MERGE INTO INCLUSION_EXCLUSION_ALL A
USING (SELECT DISTINCT IEALL.rowid rid, IE.BLACKOUT_DURATION, ie.BLACKOUT_CATEGORY
        FROM INCLUSION_EXCLUSION_ALL IEALL, INCLUSION_EXCLUSION_RULES IE
       WHERE IE.PRI_PROMOTION_ID = IEALL.PRI_PROMOTION_ID
         AND IE.PRI_OFFER_ID = IEALL.PRI_OFFER_ID
         AND IE.SEC_PROMOTION_ID = IEALL.SEC_PROMOTION_ID
         AND IE.SEC_OFFER_ID = IEALL.SEC_OFFER_ID
         AND IE.BLACKOUT_DURATION > 0
         AND (IEALL.BLACKOUT_DURATION <> IE.BLACKOUT_DURATION OR IEALL.BLACKOUT_CATEGORY <> IE.BLACKOUT_CATEGORY)
         --AND IE.INCL_EXCL_IND <> 'I'
         AND IE.SECONDARY_TYPE = 'B') B
     ON (A.rowid = B.rid)
   WHEN MATCHED THEN UPDATE SET A.BLACKOUT_DURATION = B.BLACKOUT_DURATION, A.BLACKOUT_CATEGORY = B.BLACKOUT_CATEGORY;

Thank You,
I want to know different ways on how we can do it as the rowid's are involved in here and are not compatible with Postgres esp in Joining using Alias even by using CTID,
Please advise

redpajama_set_name: RedPajamaStackExchange


What summer courses does Berkeley City College offer for 2013?
Does know or can send me a link to which courses are available for summer of 2013 at Berkeley City College, I cant find them on their website. thanks so much.
What are my chances of getting accepted into UC Berkeley?
I'm an upcoming junior who lives in Florida and I'm trying to plan out the colleges I'd like to apply to. I plan on majoring in Psychology, but I'm honestly undecided (leaning toward biology, too). Of course admissions is unique to everyone, but based on your knowledge/experience, could it happen?
UC Berkeley spring term admission?
Admission to Berkeley? Answer from UCB students/former UCB students please?
How can I best prepare to apply to the Berkeley Haas School of Business?
I am currently a community college student with excellent grades, looking to transfer for the 2013/2014 school year (so applying this Fall).
I was hoping for some advice as to how I could boost my application/resume, and possibly some insight as to what berkeley is looking for in its applicants.
Is it possible to transfer from SFSU to Berkeley (or another more prestigious university)?
I'm currently a high school senior and I'm trying to weigh out my options. I plan to major in accounting, and Berkeley's Haas business school is really up to my liking.
Transferring into University of California at Berkeley?
How difficult is it to go from University of Phoenix to UC Berkeley?


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Diovan Price Cvs Best Price for High Quality and Guaranteed Effect! Delivery of the Order from 3 Days, are sold Without Prescriptions. Quickly and Conveniently. An affordable way to Diovan Price Cvs is a potent .


Stay 4 – Pay 3!
This offer is available for a limited number of rooms and it is non-refundable. It is valid only after request until April 30th and it is based on availability for the months May, June, September and October.
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• Welcome bottle of wine and fruits in your room.
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text:
Initiative home
External Advisory Group (EAG)
Internal Management Group (IMG)
Lambert Initiative for Cannabinoid Therapeutics
The Lambert Family
History of cannabis
The cannabis plant
Endocannabinoids
Phytocannabinoids
Community use
How cannabinoids work
Computational Modelling
Accessing medicinal cannabis
What products are available?
Special Access Scheme (Category A)
Special Access Scheme (Category B)
Authorised Prescriber Scheme
State and Territory requirements
People_
Meet the members of our External Advisory Group
The External Advisory Group (EAG) - also known as the Lambert Initiative Non-Executive Advisory Board - providies strategic guidance and external engagement opportunities.
The appointed members are influential in their fields and have a wealth of experience across a range of industries. The EAG is governed by Terms of Reference.
Chair of the Advisory Board
Professor Duncan Ivison
Deputy Vice-Chancellor (Research) and Professor of Political Philosophy, Duncan Ivison has research and teaching interests in contemporary political theory, the history of political thought and moral philosophy.
Prior to this role, he was Dean of the University of Sydney's Faculty of Arts and Social Sciences from 2010. He has also held appointments at the University of Toronto and the University of York.
As DVC Research, Professor Ivison is responsible for helping to develop and deliver the University's research strategy, and supporting the pursuit of outstanding fundamental and applied research across the institution. His portfolio is responsible for commercialising research and facilitating partnerships with industry as well as providing access to University expertise, ideas and technologies for research and development
Professor Kathryn Refshauge
Professor Kathryn Refshauge is Dean of the Faculty of Health Sciences and Professor of Physiotherapy at the University of Sydney. She is a member of several boards and committees in the health sector, as well as various professional and research bodies. She has served on human research ethics committees and was involved in the Excellence in Research for Australia initiative.
Professor Refshauge was awarded the Vice-Chancellor's Award for Excellence in Research Student Supervision in 2011 and a national award for Outstanding Contribution to Student Learning by the Australian Learning and Teaching Council in 2011. She holds several honorary professorial appointments and is a member of editorial board of international journals.
Carol Ireland
Carol Ireland is CEO and Managing Director of Epilepsy Action Australia. She has an extensive background spanning 35 years in the not-for-profit human services sector and has held a variety of executive positions in operations, service delivery, marketing and fundraising.
Carol currently serves on the Australian Advisory Council for the Use of Medicinal Cannabis and Steering Committee for the NSW government's Paediatric Epilepsy Trials (Medicinal Cannabis Research). She is also a founding Director of the newly constituted Medicinal Cannabis Council.
In her role at Epilepsy Action she has had significant contact with many individuals and families who are faced with managing very challenging forms of medication resistant epilepsy, with few or no options left in the conventional treatment bucket.
Carol has heard and seen the changes in people's lives, including reduction in the severity and frequency of seizures, resulting from use of medicinal cannabis. She is a strong and active advocate for people living with epilepsy.
Barry Lambert
Barry Lambert is a business man, medicinal cannabis advocate and philanthropist.
The Lambert Initiative is the outcome of an unprecedented pledge of $33.7 million by Barry and Joy Lambert to the University of Sydney in order to fund long-term research into the medicinal potential of the cannabis plant.
Barry is the Chairman of Ecofibre Limited which owns leading USA based Nutraceutical and Hemp producer Ananda Hemp.
Michael Lambert
Michael Lambert is the son of Barry and Joy Lambert, and the father of Katelyn. Read more about the Lambert Family here.
Professor Roger Pertwee
Professor Roger Pertwee's research on cannabinoid pharmacology began in 1968 at Oxford University, and continued at Aberdeen University from 1974.
Professor Pertwee's achievements include the joint discovery of Δ9-tetrahydrocannabivarin in cannabis, and of endocannabinoids, the discovery of a CB1 receptor allosteric site, and the pharmacological characterization of phytocannabinoids and notable synthetic cannabinoids.
Accolades include:
The ICRS 2002 Mechoulam Award
The BPS 2011 Wellcome Gold Medal
The 2013 IACM Special Award.
Professor Pertwee has served as IACM chairman, and twice as President of the ICRS.
Professor Michelle Glass
Professor Michelle Glass is the Head of the Department of Pharmacology and Toxicology. The molecular pharmacologist had most recently been working at the University of Auckland for 18 years where she was Head of the Department of Pharmacology and in 2017 appointed Professor of Pharmacology.
Professor Glass worked as a postdoctoral Fellow in the Laboratory of Cellular and Molecular Regulation at the National Institute of Mental Health in Bethesda, Maryland for 18 months before moving on to work as a Visiting Fellow in the Laboratory of Cell Biology at the National Institute of Deafness and Other Communications Disorders in Rockville, Maryland. She returned to New Zealand in 2000 and took up a role as a Lecturer within the Department of Pharmacology at the University of Auckland.
Currently, Professor Glass is a member of the Medical Cannabis Research Collaborative (NZ), which aims to ensure robust clinical research of medical cannabis products in New Zealand is undertaken.
Professor German Spangenberg
Dr. Spangenberg is Professor of Plant Genetics and Genomics with La Trobe University, and holds various other esteemed positions.
Director AgriBio, the Centre for AgriBioscience
Executive Director, BioSciences Research Division of the Victorian Department of Primary Industries
Chief Scientist of the Dairy Futures Cooperative Research Centre
Chairman of the Victorian AgriBiosciences Centre
Recipient of the Australian Thinker of Year Award
President of the International Association for Plant Biotechnology
Former Chief Editor Plant Science
Dr Kathryn Sunn
Dr Kathryn Sunn is an Intellectual Property and Commercialisation professional with a passionate focus on strategic growth and technology collaborations in the Medical and Life Sciences commercial arena. Dr Sunn has over 15 years of experience in the intellectual property sector and more than 7 years experience in the commercial, technology transfer space, having previously worked in several top tier Patent & Trade Mark Attorney and Law firms.
Dr Sunn gained her PhD in Medicine from the University of New South Wales in 2001 and her Masters of IP from the University of Technology, Sydney in 2002.
Professor Iain Young
Professor Iain Young, in his capacity as Dean of the University of Sydney's Faculty of Science, is the head of one of the largest science organisations in Australia. With over 6,500 students and 26.1% and 18.6% of University research and teaching income respectively, the Faculty is large and complex in its structure.
Iain completed his BSc (Hons) at Aberdeen University in 1984, then obtaining a PhD in Soil Physics (1987) in the same institution. He then moved to The Scottish Crop Research Institution (SCRI) as a Research Leader in 1988 - now theJames Hutton Institute. Spending 12 years at SCRI, he became Head of the multidisciplinary Soil-Plant Dynamics group, before moving to Abertay University as the Founding Director and Professor of the Scottish Informatics Mathematics, Biology and Statistics (SIMBIOS) Centre. During Iain's tenure at SIMBIOS, the group was assessed as in the top five research teams in Environmental science in the UK.
Professor Igor Grant
Professor Igor Grant, M.D., is Professor and Chair of the Department of Psychiatry at the University of California, San Diego School of Medicine. He is Director of the University of California Center for Medicinal Cannabis Research (CMCR), and Director of the HIV Neurobehavioral Research Program (HNRP), which includes the California NeuroAIDS Tissue Network (CNTN), the Translational Methamphetamine AIDS Research Center (TMARC), the HIV Neurobehavioral Research Center (HNRC), the CNS HIV Anti-Retroviral Therapy Effects Research (CHARTER).
Dr. Grant is the founding Editor of the Journal of the International Neuropsychological Society and founding co-editor of the journal AIDS and Behavior.
Donate to our research


If you're gaga over garlic flavour go crunch a Nagaraya. And let your snack or party burst with this exotic flavour. Great!
Ingredients: Peanut (60%), Wheat Flour (30%), Sugar, Modified Food Starch (E1401), Garlic Flavour (3%), Salt, Coconut Oil, Flavour Enhancer (E621).


Design and fabrication of instore displays for Italian luxury fashion label. As part of the wholesale overhaul of its store designs, Prada looked to a group of young architects from around the world to create a "brain trust" for testing new ideas. Prada executives, including Miuccia Prada and Holly Brubach, directed the project. Specht Harpman was hired for its innovative use of "hypertextured" surfaces to complement the couture clothing and accessories.


text:
/*
 * Program:	Operating-system dependent routines -- AOS version
 *
 * Author:	Mark Crispin
 *		Networks and Distributed Computing
 *		Computing & Communications
 *		University of Washington
 *		Administration Building, AG-44
 *		Seattle, WA  98195
 *		Internet: MRC@CAC.Washington.EDU
 *
 * Date:	11 May 1989
 * Last Edited:	30 August 2006
 */

#include <string.h>
#include <sys/types.h>
#include <sys/dir.h>
#include <fcntl.h>
#include <syslog.h>
#include <sys/file.h>

char *getenv (char *name);
char *strstr (char *cs,char *ct);
char *strerror (int n);
void *memmove (void *s,void *ct,size_t n);
unsigned long strtoul (char *s,char **endp,int base);
void *malloc (size_t byteSize);
void free (void *ptr);
void *realloc (void *oldptr,size_t newsize);

#include "env_unix.h"
#include "fs.h"
#include "ftl.h"
#include "nl.h"
#include "tcp.h"


For the test, you will choose one of the following questions and respond to it in a well-written paragraph. Be sure to include all the details needed to answer the question completely.
Describe the structure of European feudal society.
Describe the economic system of the manor.
How did a medieval town and manor differ?
What were the similarities and differences between European and Japanese feudalism?


Tomáš Racek is an actor. They is known for The Magical Duvet (2011) and Sametoví vrazi (2005).
Main Image: Tomáš Racek. Image via The Movie Database.
Your opinion about Tomáš Racek?
Start a discussion about Tomáš Racek with your friends on Facebook or Twitter!


Martijn van Der Steen, Mark van Twist, Menno Fenger and Sara Le Cointre provide a commentary on their article Complex Causality in Improving Underperforming Schools: A Complex Adaptive Systems Approach, part of the 40th anniversary issue of Policy & Politics. This issue is available free on Ingenta until the end of November.
Policy makers' intentions and attempts to shape the state of the world in accordance with their beliefs and expectations through policy interventions is based on their perceptions of cause and effect in the policy domain, which they then try to influence through policy: through compliance with new regulation, they presume situational changes for the better. Practitioners, as well as scientists, have a hard time coming to grips with this linear understanding of policy intervention. How is it that intervention works in one case and not in another, even when cases share similarities? Is it the manner of policy intervention design that is misinformed? For ages, scientists have racked their brains for answers to problems of unintended and unanticipated consequences: what are they, how do they evolve and can we do anything to stop them? As the world around us, including the world of policy intervention, grows increasingly more complex, we find ourselves understanding the effects of policy intervention better in some ways, but also worse in others, and struggle to determine whether interventions under such circumstances can be at all effective. Different questions are raised about what is going on. Yet the age-old question for policy makers remains the same: what works?
In an attempt to help scientists and practitioners understand the intricate relationship between the effects of a policy with its produced results and interactions it causes in a complex world, we combine different theories. Theories about complexity (system dynamics, complex adaptive systems, causal loops), combined with those of unintended effects and unanticipated consequences, together shed new light on the workings of policy interventions. In the article we question the notion of the concept of causality, on which most policy interventions and the theories explaining them are based. We introduce the notion of mutual causality in policy interventions, based on a study of underperforming schools in the Netherlands. We show that some schools end up in vicious cycles where situations deteriorate as a result of intervention, whereas other schools are propelled into a virtuous cycle that markedly changes for the better. The cases show the dynamics of intervention processes and the ways in which interactions of circumstances, contexts and factors emerges. Understanding these processes and the loops of causation that are involved depends to a great deal on local knowledge and the ability of local actors to signal the relevant changes. Therefore we claim that a change in perspective and language about causality and consequences in designing policy interventions is needed in science and in practice. Rather than linear conceptions of causality and one-size-fits-all policies, designing effective policy interventions is about positive and negative feedback loops, observation, monitoring and tailor-made interventions. That implies that the broader regimes and systems in which policy-interventions are designed become better equipped to deal with local complexity and the local judgement of professionals or policy-makers that intervene in those local systems.
Complex Causality in Improving Underperforming Schools: A Complex Adaptive Systems Approach is part of the 40th anniversary issue of Policy & Politics, available free on Ingenta until the end of November.


text:
Eboli (Ebolitano: ) is a town and comune of Campania, southern Italy, in the province of Salerno.

An agricultural centre, Eboli is known mainly for olive oil and for its dairy products, among which the famous buffalo mozzarella from the area.

History
Archaeological excavations have shown that the Eboli area has been inhabited since the Copper and Bronze Ages. Also attested (starting from the 5th century BC) was the presence of the so-called Villanovan civilization.

The ancient Eburum was a Lucanian city, mentioned by Pliny the Elder, not far away from the Campanian border. It laid above the Via Popilia, which followed the line taken by the modern railway. The Romans gave it the status of municipium.

The town was destroyed first by Alaric I in 410 AD, and then by the Saracens in the 9th and 10th centuries. Later it served as a stronghold of the Principality of Salerno, with a massive castle built by Robert Guiscard.

During the 1930s Eboli was able to expand into the plain after a project of land reclamation carried out by the Fascist government. It was severely damaged during the 1980 Irpinia earthquake.

Geography
Eboli is located at the feet of Montedoro, a peripheral spur of the Monte Raione-Monte Ripalta group. Its territory, which is 90% plain, is formed by the alluvial plain of the Sele river, which bounds it southwards. The remaining part comprises hills part of the Monti Picentini Regional Park.

Eboli borders with Albanella, Battipaglia, Campagna, Capaccio, Olevano sul Tusciano and Serre. Its hamlets (frazioni) are Campolongo, Cioffi, Corno d'oro, Fiocche, Santa Cecilia and Taverna Nova.

Main sights

The main attraction is the Colonna castle (11th century). Scanty remains of the ancient polygonal walls (4th century BC) can still be seen, as well as of a Roman imperial villa in the locality of Paterno. Eboli is also home to several 15th-16th century palazzi.

The sacristy of St. Francis contains two 14th century pictures, one by Roberto da Oderisio of Naples. Also notable is the Badia (Abbey) of San Pietro alli Marmi (1076).

Culture
A local saying, Cristo si è fermato a Eboli ('Christ stopped at Eboli'), was used by 20th-century writer Carlo Levi as the title of a book, referring to the enduring poverty in Basilicata. Eboli was the location where the road and railway to Basilicata branched away from the coastal north–south routes.

Secondary schools based in Eboli are:
 Istituto di Istruzione Superiore "Perito-Levi" (liceo classico, liceo artistico, and liceo musicale e coreutico)
 Liceo scientifico "A. Gallotta"
 Istituto di Istruzione Superiore "Mattei-Fortunato" (istituto tecnico, istituto professionale)
 Liceo delle Scienze Umane Piaget (private)

Twin towns
 Pastrana, Spain

In media
There is a film based on the book (in English, Christ Stopped at Eboli).

Notable people

Filippo Gibbone (1880–), bishop.

See also
S.S. Ebolitana 1925

References

External links

Eboli official website

Cities and towns in Campania
Villanovan culture

redpajama_set_name: RedPajamaWikipedia


The mosaic bird house is mounted outdoors. Thanks to my hubby Victor for the perfect post mount.
A view of the post mount from the bottom. Cool, eh?
Unless I sell the bird house, I'll be mounting it in my back yard on a metal perch off the patio.
I wanted to build something useful while I was learning to use all my tools. The project let me use all the features of my new band saw (stART grant). However, I also used a jig saw, the versacut saw, and my drill, plus wood glue, nails, screws, and hinges. Thanks, Pam, for helping me learn to use all the tools (safely)!
Used many tools to create the bird house, especially my new Wen band saw.
Painted wood with primer, added red metal grid.
The mosaic tiles were placed but not adhered.
Glued (with thin set) mosaic tiles on front first.
As usual, I used plenty of re-purposed materials to complete the project. My friend NJ gave me the brass letters; the roof 'tiles' were metal samples used by a sales rep.
Grout sealer with a brush tip!
This is a hinged back door so I can clean the house.
I used metal samples with caulking to create the tiled roof.
I printed the bird images but covered them with textured plexiglass samples.
All of the tiles in this project were leftovers from another artist, including the smalti glass I used for the patio and the fused glass star next to the bird house door.
Final holiday tree with all bling added!
Plain MDF substrate, cut with my new band saw!
Substrate primed on both sides and edges with KILZ.
Had lots of green glass shards and pearls so those work perfectly for a tree.
Just laid out all the broken pieces so I could build the mosaic like a jigsaw puzzle.
Sorted the pearls to find the best quality (painted ones get ruined and also absorb grout).
Started by laying out the garland.
Marked the garland locations with a pen and then glued them onto the substrate.
Started placing the glass tesserae.
Once I had most pieces in place, I started gluing.
I added beads and millefiori in some grout spaces, too.
Protected the bling in the grout lines with masking tape.
Decided to use the last of dark green grout instead of coloring it myself with acrylic paint.
Final grouted version without additional surface bling.
Final holiday tree. I love the drama the dark green grout added to the piece.
Laying out the bling. Always take a picture on your cell phone before starting. You can change your mind, but at least you have the main layout!
Starting with colored thin set. I used powdered colorant and I had to wait for moisture to really get into the thin set.
What, you ask, was my inspiration for this one? First, I had a lot of silver and dark bronze or black bling. I had a lot of flower-like pieces, as well as tear drop shapes. The challenge was that I had square and oblong tesserae (very non-organic looking) and just as much round (more organic) bling.
So, I decided I needed to have sky, rain, clouds, and then flowers and a garden. But what about all of that rectangular bling? Ah, a building! Then I remembered from MANY years ago my visit to Central Park in New York. What was next to the park? Awesome art-deco style buildings! Thus was born, "Spring Rain, West Central Park"...a bit cool and a bit warm, all at the same time.
Moving from bottom and left: I'm right-handed so I stayed out of my own way!
Final work but color in the thin set will darken with time.
The Associated Asset Management team recreated their logo as a tapestry mosaic. This was part art class and part team-building activity. Remember, I am a former corporate trainer and instructional designer. I do these types of events, customized, for any local group or business.
Each sub-team created a quadrant.
"The tapestry mosaic class-turned-team-building-event Andrea put together for my office was absolutely fantastic! I shared with her some of the challenges and personality dynamics impacting our work life. And after brain-storming about the type of mosaic project I hoped we could create, Andrea melded her corporate trainer background with her talents as an artist and provided us with an experience that more than exceeded everyone's expectations. My team had a blast and the mosaic is gorgeous!"
This is the logo framed for their office. So unique.


text:
"Ocean Liners: Glamour, Speed, and Glory" at The Peabody Essex Museum Explores the Golden Age of Ocean Travel
By Linda - May 25, 2017
When Lynda Rose Hartigan, Deputy Director of the Peabody Essex Museum in Salem, Massachusetts, delivered a few words during a recent preview of the museum's newest exhibition it was like she had been in my head poking around. "Truly still among the largest moving structures ever built, ocean liners allow people to dream and aspire to a cosmopolitan lifestyle they might not otherwise experience on land." Whoa. The woman had been reading my mind!
For years I've fantasized about the ultimate dream vacation that would start with me being welcomed aboard an enormous ocean liner (note that I said 'ocean liner' and not 'cruise ship') preparatory to experiencing a leisurely sail across the Atlantic watching the waves go by from a well-placed deck chair, enjoying leisurely Afternoon Teas in a classy and comfortable lounge, and dressing up for dinners served in an elegant dining room filled with lots of other nattily dressed strangers. I would spend time in my well-appointed state room and perhaps read quietly after ordering a pot of tea from Room Service; walk the mostly-abandoned decks in the peace and solitude of the predawn hours while taking photos of the rising sun as it cast golden rays across the ocean; and have nowhere else to go for seven glorious days until disembarking on the other side of the Atlantic feeling pampered, refreshed, and privileged just like all of the people before me who had experienced the glory days of ocean cruising in years gone by.
Smokestack & lifeboats on the Queen Elizabeth model.
Unfortunately for me though, as I wasn't born with a silver spoon in my mouth and have yet to accumulate loads of expendable cash in my glamorous occupation as a 911 dispatcher (and single-cruising prices are horribly prohibitive) that ultimate vacation remains simply a dream, a "someday if I'm lucky" as it were. In the meantime while I'm waiting for that someday, I continue to sigh wistfully while watching 1957's An Affair to Remember - one of the most romantic movies of all time set in one of the most romantic places of all time in which Cary Grant and Deborah Kerr fall in love while on a Transatlantic cruise from Europe to New York - and puzzle over why Rose didn't share her obviously-big-enough door with Jack after the Titanic had sunk below the waves and left them floating in the cold waters of the North Atlantic.
For those like me who have that dream of someday sailing the high seas on a grand ship of the line but can't quite realize it yet, for now we can make the journey to Salem instead and take in the PEM's newest exhibition that brings to life the great age of ocean travel. Ocean Liners: Glamour, Speed, and Style was designed for people like myself who love the romantic notion of sailing across the ocean surrounded by the best that life has to offer in what could certainly be called a 'floating palace' but as awesome as that is, there's a lot more to the exhibition than just glamour and romance. Co-organized with London's prestigious Victoria & Albert Museum (the V&A), this new groundbreaking exhibition is the very first to look beyond the nostalgia the ships evoke and also explore the design and cultural impact of the ocean liner from the successful marketing campaigns created by the major shipping companies to the innovative engineering, opulent interiors, and the lifestyles of its rich and famous passengers.
Model of the SS Kronprinzessin Cecilioe.
"No form of transport was as romantic, remarkable or contested as the ocean liner and their design became a matter of national prestige as well as a microcosm of global dynamics and competition," said Dan Finamore, PEM's Russell W. Knight Curator of Maritime Art and History. "Through this exhibition people will hopefully discover what an amazing experience ocean liner travel must have been, how important these ships were culturally and nationally as both messengers and artistic statements, and how carefully and intentionally designed interiors can affect us emotionally and express our personal values."
Drawing from the museums' collections, international institutions, and private lenders, Ocean Liners: Glamour, Speed, and Style is filled with more than 200 works from the mid-19th century through the mid-20th century (an era when ocean liners ruled the sea) including paintings, sculpture, models, furniture, lighting, wall panels, textiles, fashion, photographs, posters and film as it brings together elements of interior ship design that have never been exhibited before. "This exhibition was four years in the making," said co-creator Elaine Wood of the V&A, "and is far richer and far more ambitious than either institution could do alone. No one has ever attempted to tell this vast all-encompassing story that really sums up the big picture of ocean liners. One of the things that this exhibit really celebrates is the major artists and designers producing extraordinary works created for a very particular environment." The exhibit includes pieces from the SS Normandie, a French liner that was promoted as the most elegant in the world, the SS United States built in 1952 and designed by American naval architect William Francis Gibbs to capture the trans-Atlantic speed record, the ill-fated ocean liners the RMS Titanic, SS Andrea Doria, and RMS Lusitania, and more.
As soon as you enter the first gallery you know that this exhibition is going to be big as right from the get-go visitors are greeted by a large mural created for the 1937 International Exposition of Art and Technology in Modern Life held in Paris, France. The six radiant inner panels made from lacquer and bronze powder on fiberboard inner panels of the mural were created by French artist Gaston Suisse (1896-1988) and depict the newest French ocean liner, Normandie, as the epitome of modernity and grace. The panels on the left and right of the mural are reproductions of the originals which were recently restored and are on view together for the first time.
Things continue to be big on the other side of the Normandie panel where the largest model of the largest ship in the world at the time of its construction is docked. This monumental one-ton model of the Queen Elizabeth built by Basset-Lowke Ltd., the premier model-making company during the golden age of ocean liner travel, greeted visitors to Cunard's palatial New York City offices on Bowling Green.
This model and others were fixtures of booking offices offering clients close-up views of the liners they could travel on, making the prospect of crossing the ocean even more exciting. This 1949 model of RMS Queen Elizabeth, Cunard White Star's flagship for more than twenty years, was constructed in 1948 of white mahogany, gunmetal, and brass and was a gift of the Cunard Line to the PEM in 1970.
As the first gallery is about Promotion - how each of the lines presented themselves so that passengers would book on their ship and not another line - this section of Ocean Liners: Glamour, Speed, and Style also includes an array of posters used to entice potential passengers including these from the United States Lines, White Star Line, and American Line (which in 1932 became part of the United States Lines.)
Moving into the second gallery which is geared towards engineering designs, sea safety, and comfort, a wood, gunmetal, and brass model of the RMS Queen Mary, sister ship to Cunard's Queen Elizabeth, that was built in 1935 by Bassett-Lowke, Ltd. of Northampton, UK and was a gift to the PEM by Cunard in 1968, sits behind several touch-screen terminals that offer visitors a chance to do a little interactive viewing of various aspects of the ship.
Launched in September 1934 and sailed primarily on the North Atlantic Ocean from 1936 to 1967 for the Cunard Line (known as Cunard-White Star Line when the vessel entered service), today the Queen Mary is permanently docked in Long Beach, California where she serves as a tourist attraction featuring restaurants, a museum and a hotel. Having visited there myself in 1992, I guess I can technically say that I've spent time on an ocean liner!
As liner engineering advanced and nations vied for speed in the 19th century, an informal award known as the Blue Riband was bestowed on the passenger liner in regular service crossing the Atlantic Ocean westbound with the highest speed record . Traditionally, the record was based on average speed rather than passage time because the ships followed different routes. There was no formal award until 1935 when Harold K. Hales (1868–1942), a British politician and owner of Hales Brothers shipping company, donated this elaborate trophy of gilded silver and green onyx. Designed by Charles Holliday of James Dixon & Sons, Sheffield, UK, the trophy's imagery draws on ancient mythology with Poseidon and Amphitrite, the god and goddess of the seas, flanking Victory on the base who supports a globe upon which two Titans wrestle over a liner. It's an impressive trophy!
While engineers were designing each new liner to be the largest and fastest on the sea, top-tier artisans were creating the finest designs and artwork to fill the ships with which they accomplished while reflecting the taste, sensibility, and politics of their time. "Choosing which vessel to travel on was a way for passengers to select a fantasy experience," said Finamore. "They could live in an Art Deco Parisian apartment or a Romanesque castle. The choice was theirs."
As I've always been a big fan of the Beaux-Arts style, one of my favorite pieces in the exhibition is the panel Honour and Glory Crowning Time that graced the grand staircase leading to the first-class dining room of Titanic's sister ship Olympic which was the largest ocean liner in the world for two periods during 1911–13, interrupted only by the brief tenure of the slightly larger Titanic.
Another marvelous piece of Beaux-Arts design is this oil on canvas in a gilded and painted wood frame entitled Our Future Lies Upon the Water which was the centerpiece of the first-class smoking room on the German liner Kronprinz Wilhelm. Created by German artist Arthur Heinrich Wilhem Fitger in 1901, the muscular youth conquering the raging seas underlines Germany's expanding industrial strength, maritime presence, and global ambitions in the early 20th century.
One of the most poignant pieces on display in the exhibition is this fragment of a panel from the first-class lounge on the RMS Titanic that was found floating in the water after the ship's tragic sinking on April 15, 1912. An example of the richly carved panels that decorated much of the ship's interior, when travelers entered the recital lounge of the liner dubbed to be "The Queen of the Ocean," they passed under this beautiful arch with its ornate details featuring carved musical instruments and florets. Passengers on the ill-fated liner were sailing on the ultimate Beaux-Arts ship which the White Star Line intended to be grander than the most luxurious five-star hotel.
Continuing in the Beaux-Arts style, the above photos show a door from the first-class embarkation hall and paneling from the communication gallery of the SS France, a French ocean liner which sailed for the Compagnie Générale Transatlantique, colloquially known as CGT or the "French Line". Later christened Versailles of the Atlantic, a reference to her décor which reflected the famous palace outside Paris, France was introduced into the Transatlantic route in April 1912, just a week after the sinking of RMS Titanic, and was the only French liner among the famous "four stackers". Credited for bringing the grand staircase to the ocean liner, a fashion which prevails in modern cruise ships, France quickly became one of the most popular ships in the Atlantic.
Evoking the life and death of a great liner, this Mid-Century style chipped and stained panel is a remnant from the Andrea Doria which was launched in June of 1951. An icon of Italian national pride as, of all Italy's ships at the time, she was the largest, fastest, and supposedly safest, the Andrea Doria came to a tragic end on July 26, 1956 in what became one of history's most infamous maritime disasters, Shrouded in fog as she approached the coast of Nantucket, Massachusetts bound for New York City, Andrea Doria collided with the eastbound MS Stockholm of the Swedish American Line and sank 11 hours later with the loss of 46 lives. Following the disaster, this panel from the ship's Zodiac Suite washed ashore on a Nantucket beach. Created by Italian designer Piero Fornasetti of ink and paint on masonite mounted to plywood, the whimsical blue-green zodiac designed panel decorated one of the Andrea Doria's private suites.
Another Mid-Century piece, this large illuminated wall panel was one of a set that decorated SS United States's intimate, midnight-blue private restaurant. Created in 1952 by American designer Charles Tissot, the star patterns were formed by insetting cut-glass rods and lenses into the panels that when lit, gave the illusion of celestial bodies at varying distances.
As you can't have a glamorous ocean liner without outfitting it with glamorous furniture that's exactly what the designers produced and the owner's filled their ships with as the exhibition continues with displays of International Design Trends.
The Art-Deco pieces above would have been found in the grand salon of Normandie and (with the exception of the side chair which belongs to the PEM) are on loan from the single largest lender to the Ocean Liners: Glamour, Speed, and Glory exhibition - the Miottel Museum in Berkeley, California which is a private collection open by appointment-only to scholars and and serious collectors. With an ocean-liner collection totaling some 30,000 works that includes everything from postage stamps to a grand piano, the collection is owned by John "Crash" Miottel who has harbored a strong fascination with all things ships since early childhood. The reverse-painted glass panel gilded with gold, silver and palladium leaf designed by Jean Dupas is from The Rape of Europa mural that graced the ships' Grand Salon while the side table of Formica, wood, and brass was designed by Jean Dunand. The side chair designed in 1934 by Jean-Maurice Rothschild, Baptistin Spade, and Émile Gaudissart is crafted of gilded wood, metal, and wool and silk tapestry.
The 1936 Art Deco armchair and table from the Queen Mary were part of the first-class long gallery that was both comfortable and contemporary. The anodized aluminum panel by French sculptor Maurice Lambert above the chair is one of a pair of reliefs entitled Speed and Progress that were displayed above the First Class Travel Bureau on the ship. The stunning relief features Pegasus being outrun by a stylized DH86 aircraft and was one of many works that disappeared when the Queen Mary was permanently moored in Long Beach in 1967. It later turned up in auction and is now part of the Miottel Museum in Berkeley.
This 1936 painting by Herbert Davis Richter depicts the first-class dining room which was without doubt the grandest room on the Queen Mary and one of the largest and finest ever built aboard any ship in liner history. An engineering as well as decorative tour de force, the room was designed to seat the entire compliment of over 800 first-class passengers in one sitting whereas there were two sittings in the second and third-class dining rooms.
To the right, this Mid-Century design comfy-looking orange easy chair made of wood and velour was designed by Nino Zoncada of Italy and was used in the first-class ballroom on the Eugenio, a 1966 Italian-built ocean liner originally owned by the Costa Line. If there was a chair in the exhibition that I was tempted to take a seat in, it was definitely the wood, brass, and velour armchair on the left designed by Gustavo Pulitzer-Finali for the MS Augustus, a luxurious ocean liner built in 1950 for the Italian Line.
In search of a new market as air travel began to replace ocean travel, Cunard specifically designed the Queen Elizabeth 2 to embody the 1960s "Swinging London" vibe, marketing the ship as a fun and happening alternative to a boring airplane while aggressively targeting a younger, more fashionable crowd. This hip and mod restaurant chair made in aluminum alloy and manufactured by Race Furniture was originally used in the QE2's Columbia and Britannia restaurants and lent an air of contemporary chic to the traditional white tablecloths. Designed by Robert Heritage who is celebrated as the most awarded designer in the history of the British Design Council, the chair design was awarded a prize by the Council of Industrial Design in 1969 - the same year that the QE2 entered service. Yea baby!
Prior to World War II, long-distance travel was a luxury afforded to the rich and often famous including stars of the stage and screen and footloose, fancy-free aristocrats such as the Duke and Duchess of Windsor who mingled on-board with American millionaires. Even before boarding the liner, passengers made their mark with their luggage - an overabundance of which was the true sign of the seasoned and stylish traveler. Designer Maison Goyard and Louis Vuitton luggage like Goyard's 1940s painted canvas, leather, and brass suitcases that were owned by the Duke and Duchess of Windsor (just a few of the pieces that they brought aboard) and the 1925 Vuitton steamer trunk and jewelry case were definite status symbols of the rich and famous.
Speaking of stars, on display is a 1950 day suit designed by Christian Dior and worn by Hollywood movie star Marlene Dietrich who was an experienced trans-Atlantic tourist. The photograph shows Dietrich wearing the suit as she waits to board the Queen Elizabeth. On the Normandie, one of her favorite liners due to its opulence, Dietrich even had a favorite stateroom – the Deauville Suite - that came complete with a honey-colored baby grand piano designed by Louis Süe and manufactured by Graveau of Paris.
One simply couldn't go on a fabulous cruise without fabulous jewelry - a few pieces of which are on display in the exhibition. The platinum and gold bandeau tiara above, set with 30 carats of circular-cut diamonds within an outer border of seed pearls framing a central detachable 3.3 carat diamond, was commissioned in 1909 from Cartier Paris by Sir Hugh Montagu Allan for his wife, Montreal socialite Lady Marguerite Ethel Allan, née Mackenzie, and taken with her on the ill-fated final voyage of the RMS Lusitania in 1915. The tiara survived the sinking along with Lady Allan and her two maids as one of them carried it off the boat with her but sadly, Anna and Gwendolyn, Lady Allan's two daughters who were traveling with her, died in the disaster.
To the right, the gold and platinum brooch by Jean Schulumberger of Tiffany & Co. was purchased in 1964 by Richard Burton and given to Elizabeth Taylor who was photographed wearing it while coming off a voyage of the Queen Elizabeth. Titled "The Night of the Iguana Brooch," the design is actually a dolphin (though it doesn't look like it!) with diamond and gold scales featuring a cabochon sapphire eye and emerald mouth. The reason for the name is that Liz accompanied Burton to Mexico while he was filming John Huston's "The Night of the Iguana" movie and as they had had such a fabulous time, Burton gave her the brooch as a special gift on the premier of the movie.
On loan from the Queen Mary Hotel in Long Beach, this 1934 altarpiece executed on a gold leaf background by Kenneth Shoemaker entitled The Madonna of the Atlantic was located in the first-class drawing room. During the week a hinged, four-panel folding screen decorated with a Mediterranean scene - also by Shoesmith - kept it hidden from view.
This 1935 Art Deco Torah Ark in the shape of a hand or Hamesh, a symbol of protection and blessing, was located in a permanent synagogue known as the "Scroll Room" on the Queen Mary's third-class deck. Designed by English architect Cecil Jacob Epril, the synagogue was one of the first to be put aboard a trans-Atlantic liner. Though there was a growing number of wealthy American and British Jews who were making voyages across the Atlantic and who would be pleased by such a facility, the location of the synagogue as well as a kosher kitchen seem to indicate that Cunard personnel anticipated that the people who would most require those facilities would be the passengers in third-class - refugees from Nazi Germany.
In this 1868 painting by Charles Robert Dudley entitled A Deck Scene on Great Eastern, the largest paddle steamer in the world at that time which was on a trans-Atlantic cable-laying voyage when this painting was made, travelers who stepped out on deck to get some air didn't have the luxury of deck chairs as the deck was considered the functional area of the ship. If they wanted to sit outside and get some air, they had to bring some of the interior furniture out with them as depicted here. It wasn't until the 20th century that technological advancements allowed the deck to be opened up for passenger use.
As outdoor space became more popular with passengers, ships were designed with larger, uncluttered decks and deck chairs became icons of leisure travel in the 20th century with each liner company developing its own distinct design. Representing the epitome of luxury and opulence, passengers would relax in their deck chairs against a cooling ocean spray, sometimes covered by a blanket, while attended to by the ever present and attentive deck stewards. Securing a deck chair that was in a prime location - protected and sunny as well as close to witty neighbors - was the mark of a seasoned traveler. From back to front - a folding aluminum and nylon deck chair from SS United States circa 1952; a wood and cane chair from the Normandie circa 1935; and a beech and cane deck chair from RMS Titanic circa 1912.
On Titanic, first and second class passengers had the opportunity to reserve their chairs for the voyage, upon which a name card would be inserted into a special brass frame like the one in the upper left corner of this chair. During the day the chairs could be rearranged according to passengers' wishes but at night they were folded and and tied against a portion of the superstructure of the ship with rope. Another poignant part of the exhibition, this chair, manufactured in 1912 by R. Holman & Company in Boston and on loan from the Museum of the City of New York, is one of less than a half dozen left in existence out of the 614 that Titanic had set sail with.
Following the ship's tragic encounter with a rogue iceberg, Titanic baker Charles Joughin claimed to have thrown at least 50 deck chairs into the water to act as flotation devices while many more must have been strewn about as the ship slipped beneath the waves. When the recovery ship, the Mackay Bennett, was dispatched to go pick up the bodies of those that had died on the Titanic, the all-volunteer crew found more than just the dead in the water as they found deck chairs and other wreckage, too. Frederick Hamilton, a crewman aboard the Mckay Bennett, recorded in his personal diary on April 21, 1912, that "The ocean is strewn with a litter of woodwork, chairs, and bodies." The official logbook of the ship records the recovery of multiple deck chairs from the Titanic wreckage over a period of several days, as well as their repair by the ship's carpenter, suggesting that some of them were intended to be made functional again.
On a side note, exhibition co-creator Dan Finamore confided that he definitely took some delight in telling his friends that while he was working on the exhibition he was "Rearranging the deck chairs on the Titanic," an idiom which is often used to describe a futile action in the face of impending catastrophe. I'm sure I'd have done the same thing!
On a less somber note, Ocean Liners: Glamour, Speed, and Glory continues with some fashions of the day including a bellhop uniform that particularly caught my eye. I blame my penchant on loving a nice uniform with shiny brass buttons on growing up a military brat! This bellhop uniform circa 1930s would have been worn on the liners of the Compagnie Générale Transatlantique - typically known overseas as the French Line - including the SS Normandie and SS France.
Of course there were pools on ocean liners and people using them wearing - what was then - the latest in swimming costumes. From left to right - one of the earliest two-piece suits for women, this circa 1937-39 wool jersey was made by Finnigans, Ltd. of London; the man's "topper" swimsuit complete with zipper pocket and belt is American-made circa 1934; and the woman's colorful two-piece suit was designed by Italian designer Emilio Pucci for Saks Fifth Avenue in 1968.
From swimwear to evening wear, in the middle is a circa 1953 dress used in an advertisement for the Andrea Doria and a men's 1969 dinner suit complete with ascot. To the left, a Lucien Lelong copper lamé evening dress in a lean cut meant to emphasize the streamlined, modern style of the ship, circa 1935, is similar to the one the designer showed on board the Normandie when representatives from fashion houses would hold shows displaying their latest creations in the ship's dramatically-lit grand salon while sailing across the mid-Atlantic. On the right, made from silk, gold lamé, and glass beading, this circa 1925 Jenny Sacerdote-designed dress was reportedly worn beneath the fur coat of 19-year old Mary Elizabeth Staples along with several other dresses in order to prevent having to pay customs tax on her expensive purchases when she returned to New York in 1927. A beautiful example of haute-couture craftsmanship, Jenny Sacerdote was at the height of her fame and success when she designed this dress.
Naturally dinnerware on ocean liner was of the designer-type also including these streamlined pieces from the Normandie - a chrome-plated and brass pitcher designed by Peter Muller-Monk circa 1935 from the Miottel Museum and a circa-1935 teacup, saucer, and dinner plate made by the Steubenville Pottery Company of Ohio on loan from the Boston Museum of Fine Arts. *Correction: This place setting was influenced by the Normandie was but never used on board the ship.
If you were fortunate enough - and wealthy enough - to be a sailing in one of Normandie's very best suites - Deauville, Trouville, Rouen, or Caen - then you could skip dining with the crowds and have dinner in your suite which was served in style and then some. The service of multiple utensils, glassware, and dishes included crystal wine goblets, decanters, and other glassware by French glass designer René Lalique as well as an oyster plate by his daughter, Suzanne Lalique. Custom-designed and produced in very limited quantities for exclusive use in the ship's deluxe suites, this amazing dinner service is on loan from the Miottel Museum in Berkeley and - trust me - the photos do not do it justice!
The exhibition ends with displays geared towards the modern impact of ocean liners on today's cruise ships and contemporary architecture - a tribute to the symbols of human progress and visionary creativity that ocean liners evoked but from a personal point of view, what's the point of a resort that acts like an ocean liner? Half of the joy and fun of ocean travel back in the day was the 'getting there' for as co-curator Elaine Wood of the V&A said, "There is something immensely romantic about the liner, the idea of taking a voyage, a traveling and transportive experience ..." Indeed.
Ocean Liners: Glamour, Speed, and Glory ran from May 20th to October 9th, 2017 at the Peabody Essex Museum before setting sail across the Atlantic for a February 2018 opening at the Victoria & Albert Museum in London. For information on visiting the Peabody Essex Museum in Salem, click here and book your own passage into this wonderful exhibition that may very well have you dreaming the same ultimate vacation dream I have of someday setting sail and reliving even just a tiny bit the Golden Age of Ocean Travel. Once I win the lottery that is!
Location: 161 Essex St, Salem, MA 01970, USA
David F Hutchings, Maritime Author, UK Thursday, June 8, 2017 at 11:28:00 AM EDT
What a stunning exhibition!
Unknown Sunday, October 15, 2017 at 12:14:00 AM EDT
The place setting designed by Muller-Monk was influenced by the Normandie but was never used on board the Normandie.
Linda Sunday, October 15, 2017 at 9:59:00 AM EDT
Thank you Jean, I have noted a correction to that above.
"Ocean Liners: Glamour, Speed, and Glory" at The P...


text:
Q: converting a number to set range of numbers? so far I have this
for letter in name:
    number = ord(letter) - 96
    if number>=1 and number<=9:
        output.append(number)
    else:
        #change value to corresponding numeric value?

I am supposed to convert the letters in a name to corresponding numbers in numerology values
http://m.wikihow.com/Calculate-Your-Name-Number-in-Numerology
right now it outputs the letter number for only the first 9 letters of the alphabet and leaves out the values for any letter past i.

A: The value of each letter can be concisely written as (ord(letter) - 97)%9 + 1. The full code would then be:
for letter in name:
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    output.append(number)


text:
Decodings Fall (October) 2020
Society for Literature, Science, and the Arts Newsletter
Fall 2020, Vol. 30, No.1 (October edition)
*SLSA 2020 Special Event
*Election Results
*Committee Members and Appointments
*Membership Renewal
*Policies: Respectful Behavior and Freedom of Speech
*Ombudspersons
*AnthropoScene Book Series
*SLSA Europe News
SLSA 2020 SPECIAL EVENT: Registration now open: SLSA special online event!
FREE registration is now open for our special SLSA Fall event on Thursday, October 8, 2020 from 7-9PM EDT! All are welcome, so please share this widely.
The event will be hosted on Zoom; please register here: https://yorku.zoom.us/webinar/register/WN_BXnOBFHmQzq6eF17hns9bw
Further event details are at https://www.litsciarts.org/2020/09/24/2020specialevent/
This event will include remarks by 2020 SLSA Lifetime Achievement Award recipient Richard Powers, as well as several contributions on the topic of "AI Futures" including:
– a conversation between curator Srimoyee Mitra and artist Stephanie Dinkins, introduced by Irina Aristarkhova;
– lightning talks by Ed Finn, Jennifer Rhee, and Evan Selinger;
– a conversation between N. Katherine Haylesand Amaranth Borsuk;
– opportunities for audience Q&A.
We will also announce the 2020 recipients of the Bruns Essay prize, the Schacherle essay prize, and the Michelle Kendricks book prize.
If you've any questions or comments, please write to David Cecchetto (dcecchet@yorku.ca) or Carol Colatrella (carol.colatrella@lmc.gatech.edu). We look forward to seeing you on October 8th!
Rajani Sudan, Southern Methodist University, will serve as second vice-president in fall 2020-fall 2022 and in subsequent two-year terms as first vice-president and president. Elizabeth Donaldson, New York Institute of Technology, will serve as Member-at-Large fall 2020-fall 2022. Thanks to Dan Vandersommers, Ball State University, and David Parisi, College of Charleston, for serving as candidates.
SLSA COMMITTEE MEMBERS AND APPOINTMENTS
Wayne Miller, Electronic Resources Coordinator, asks for new images for the SLSA website homepage (litsciarts.org). He noted that he is in the process of cleaning up the website and will archive many past conference programs. The difficulties with updating the Bibliography encouraged the executive committee to decide against continuing its production; however, a number of members will continue or will be enlisted to develop social media. Adriana Knouf has joined Ed Chang in developing SLSA social media. SLSA members interested in contributing to social media on behalf of the society are encouraged to email Adriana and Ed who are coordinating efforts: a.knouf@northeastern.edu & change@ohio.edu
MEMBERSHIP RENEWAL: Please remember to renew your membership; 2020 rates are here:
https://www.litsciarts.org/join-renew-membership/
Benefits of membership include the newsletter Decodings, the LITSCI listserv, and the journal Configurations, which explores the relations of literature and the arts to the sciences and technology. Founded in 1993, the journal continues to set the stage for transdisciplinary research concerning the interplay between science, technology, and the arts. https://muse.jhu.edu/journal/36
Looking for the latest research in science and technology studies? Members can access to the Configurations online archive of articles, useful resources for teaching and scholarship at the above link.
Policies Adopted: Respectful Behavior and Freedom of Speech & Call for Ombudspersons
SLSA officers and the executive committee have developed two new policies and have shared them with members through the listserv. After incorporating revisions suggested by several members, the policies have been approved the executive committee and adopted by the society. The updated policies are posted here:
https://www.litsciarts.org/2019/05/29/draft-policies-for-respectful-behavior-and-freedom-of-speech-commitment/
In accordance with the policies, SLSA is recruiting individuals to serve as ombudspersons who would receive and mediate any issues raised by members/conference attendees. Any member interested in volunteering to serve as ombudsperson, should apply by emailing Carol Colatrella (carol.colatrella@lmc.gatech.edu); include a short statement of why you are interested in serving in this role and what experience you can bring the position.
Marcel O'Gorman (marcel@uwaterloo.ca) and Kari Nixon (knixon@whitworth.edu) have volunteered to serve as ombudspersons. Current officers will also review future applications to make additional appointments.
Role of SLSA Ombudsperson
Each Ombudsperson is an impartial entity who strives to see that SLSA members and SLSA conference attendees are treated fairly and equitably. Any member/attendee can seek the advice of an Ombudsperson. The Ombudsperson is impartial, neutral, and confidential. The rights and interests of all parties to disputes are considered, with the goal of achieving fair outcomes. The primary responsibilities of the Ombudsperson are:
To work with individuals to explore and assist them in determining options to help resolve conflicts and problematic issues or concerns.
To bring concerns about the organization to the attention of leadership for resolution.
ANTHROPOSCENE: SLSA BOOK SERIES FROM PENNSYLVANIA STATE UNIVERSITY PRESS AnthropoScene is a book series from Penn State University Press, published in collaboration with the Society for Literature, Science, and the Arts. While not all scientists have accepted the term "anthropocene" as part of the geological timescale, the idea that humans are changing the planet and its environments in radical and irreversible ways has provoked new kinds of cross-disciplinary thinking about relationships among the arts, human technologies, and nature. This is the broad, cross-disciplinary basis for books published in AnthropoScene.
Books in this series include specialized studies for scholars in a variety of disciplines as well as widely accessible works of interest to broad audiences. They examine, in a variety of ways, relationships and points of intersection among natural, biological, and applied sciences and literary, visual, and performing arts. The AnthropoScene series represents the depth and breadth of work being done by scholars in literature, science, and the arts, putting innovative juxtapositions within reach of specialists and non-specialists alike. http://www.psupress.org/books/series/book_SeriesAnthropoScene.html.
After five years, Lucinda and Bob have decided to step down. Penn State Press will continue to work with the authors who already have submitted manuscripts to the series; there are a number of manuscripts under consideration and others under contract. Send questions to: Kendra Boileau, Assistant Director and Editor‐in‐Chief, at kboileau@psu.edu. Or contact the SLSA liaison for the series, Pamela Gossin at psgossin@utdallas.edu or psgossin@gmail.com.
Series Advisory Board members are Stacy Alaimo, University of Texas at Arlington; Ron Broglio, Arizona State University; Carol Colatrella, Georgia Institute of Technology; Heidi Hutner, Stony Brook University; Stephanie LeMenager, University of Oregon; Christopher Morris, University of Texas at Arlington; Laura Otis, Emory University; Will Potter, Washington, D.C.; Ronald Schleifer, University of Oklahoma; Susan Squier, Penn State University; Rajani Sudan, Southern Methodist University; and Kari Weil, Wesleyan University.
Titles in AnthropoScene: The SLSA Book Series
*Kieran Murphy's book Electromagnetism and the Metonymic Imagination, is coming out in spring 2020. It will be available to order through the press website with the regular discount, despite warehouse operations being temporarily suspended: http://www.psupress.org/books/titles/978-0-271-08605-7.html
*Love in a Time of Slaughters: Human-Animal Stories Against Genocide and Extinction by Susan McHugh http://www.psupress.org/books/titles/978-0-271-08370-4.html
*Anthropocene Reading: Literary History in Geologic Times. Edited by Tobias Menely and Jesse Oak Taylor http://www.psupress.org/books/titles/978-0-271-07872-4.html
*Editing the Soul: Science and Fiction in the Genome Age by Everett Hamner
http://www.psupress.org/books/titles/978-0-271-07933-2.html
SLSA Member's Discount from Penn State University Press: Use code SLSA30 for 30% off any AnthropoScene title purchased directly from PSU Press, plus free domestic shipping and discounts on foreign shipping!
EUROPEAN SLSA ANNUAL CONFERENCE
SLSAeu 2021 – Bergen, 4-7 March 2021: Literary & Aesthetic Posthumanism
https://www.slsa-eu.org/news
Proposals: abstracts up to 500 words should be send by email to Bruno Ministro (brunosantos4[at]gmail.com).
Please include "SLSAeu21" in the email subject line. We are requesting these by 1 August 2020, with a response in
early October.
The conference will be held in Bergen, Norway.
Co-hosts: University of Bergen and University of Basel
Conference chair: Joseph Tabbi (U. of Bergen)
SLSAeu is the sister organization of the international, USA-based Society for Literature, Science, and the Arts.
It welcomes colleagues in the humanities, the social sciences, the arts, all fields of science, medicine, engineering,
computer sciences as well as independent scholars, artists and scientists. https://www.slsa-eu.org/
Society for Literature, Science, and the Arts Executive Board (2020-21)
President: David Cecchetto, York University, Toronto (dcecchet@yorku.ca)
Executive Director: Carol Colatrella, Georgia Institute of Technology (carol.colatrella@lmc.gatech.edu)
First Vice-President: Maria Whiteman, Indiana University (mtw1@iu.edu)
Second Vice-President: Rajani Sudan, Southern Methodist University (rsudan@mail.smu.edu)
Members-at-Large: Raymond Malewitz (2018-2020); N. Adriana Knouf (2019-21); Adam Nocek (2019-21)
Graduate Student Liaisons: Brad Necyk, University of Alberta (bnecyk@ualberta.ca); Ben Platt (plattbe@oregonstate.edu);Tyler Gabbard: rgabbar@purdue.edu; McKenzie Stupiča: (mckenziestupica2023@u.northwestern.edu).
Configurations Editors: Melissa Littlefield, University of Illinois at Urbana-Champaign, and Rajani Sudan, Southern Methodist University Configurations Email address: configurations@smu.edu
Configurations Book Review Editor: Jeffrey Karnicky, Department of English, 2505 University Avenue,
Drake University, Des Moines, IA 50311. Email: jeff.karnicky@drake.edu
Publications Committee: Pamela Gossin; Raymond Malewitz; Bruce Clarke
Electronic Resources Coordinator: Wayne Miller (wayne.miller@gmail.com)
Arts Liaisons: Dennis Summers (dennis@quantumdanceworks.com); Kiki Benzon (kiki.benzon@uleth.ca);
Maria Whiteman (mtw1@iu.edu)
Social Media Liaisons: Ed Chang (change@ohio.edu); Nicole Fletcher (grayjaymedia@gmail.com); Adriana
Knouf (a.knouf@northeastern.edu)
Ombudspersons: Marcel O'Gorman (marcel@uwaterloo.ca) and Kari Nixon (knixon@whitworth.edu)
Past Presidents: Marcel O'Gorman, University of Waterloo; Ron Broglio, Arizona State University; Robert Markley, University of Illinois at Urbana-Champaign; Laura Otis, Emory University; Richard Nash, Indiana University; Alan Rauch, University of North Carolina-Charlotte; Bruce Clarke, Texas Tech University; Eve Keller, Fordham University; Jay Labinger, California Institute of Technology; T. Hugh Crawford, Georgia Tech; Susan Squier, Penn State; Sidney Perkowitz, Emory University; Stuart Peterfreund, Northeastern University; James J. Bono, SUNY-Buffalo; N. Katherine Hayles, Duke University; Mark Greenberg, Drexel University; Lance Schachterle, Worcester Polytechnic Institute; Stephen J. Weininger, Worcester Polytechnic Institute
The Executive Director can be reached at (404) 894-1241 or carol.colatrella@lmc.gatech.edu.
Postal address: Carol Colatrella, Executive Director, SLSA, School of Literature, Media, and Communication,
Georgia Institute of Technology, 686 Cherry Street, Atlanta, GA 30332-0165


text:
// Generated by the protocol buffer compiler.  DO NOT EDIT!
// source: google/cloud/bigquery/datatransfer/v1/transfer.proto

package com.google.cloud.bigquery.datatransfer.v1;

public interface TransferMessageOrBuilder
    extends
    // @@protoc_insertion_point(interface_extends:google.cloud.bigquery.datatransfer.v1.TransferMessage)
    com.google.protobuf.MessageOrBuilder {

  /**
   *
   *
   *

   * Time when message was logged.
   *

   *
   * .google.protobuf.Timestamp message_time = 1;
   */
  boolean hasMessageTime();
  /**
   *
   *
   *

   * Time when message was logged.
   *

   *
   * .google.protobuf.Timestamp message_time = 1;
   */
  com.google.protobuf.Timestamp getMessageTime();
  /**
   *
   *
   *

   * Time when message was logged.
   *

   *
   * .google.protobuf.Timestamp message_time = 1;
   */
  com.google.protobuf.TimestampOrBuilder getMessageTimeOrBuilder();

  /**
   *
   *
   *

   * Message severity.
   *

   *
   * .google.cloud.bigquery.datatransfer.v1.TransferMessage.MessageSeverity severity = 2;
   *
   */
  int getSeverityValue();
  /**
   *
   *
   *

   * Message severity.
   *

   *
   * .google.cloud.bigquery.datatransfer.v1.TransferMessage.MessageSeverity severity = 2;
   *
   */
  com.google.cloud.bigquery.datatransfer.v1.TransferMessage.MessageSeverity getSeverity();

  /**
   *
   *
   *

   * Message text.
   *

   *
   * string message_text = 3;
   */
  java.lang.String getMessageText();
  /**
   *
   *
   *

   * Message text.
   *

   *
   * string message_text = 3;
   */
  com.google.protobuf.ByteString getMessageTextBytes();
}


text:
import os
import unittest

from robotide.robotapi import TestCaseFile
from robotide.controller.ctrlcommands import RenameFile
from robotide.controller.filecontrollers import TestCaseFileController
from robotide.controller.validators import ERROR_ILLEGAL_CHARACTERS, ERROR_EMPTY_FILENAME, ERROR_NEWLINES_IN_THE_FILENAME, ERROR_FILE_ALREADY_EXISTS
from robotide.publish import PUBLISHER, RideFileNameChanged, RideInputValidationError

class TestRenameTestCaseFile(unittest.TestCase):
    _filenames_to_remove = []

    def setUp(self):
        PUBLISHER.subscribe(self._file_name_changed, RideFileNameChanged)
        PUBLISHER.subscribe(self._file_name_error, RideInputValidationError)
        self._clean_test_files(["quux.robot","some.robot"])

    def tearDown(self):
        self._clean_test_files()
        PUBLISHER.unsubscribe_all(self)

    def _clean_test_files(self, paths = None):
        for filename in paths if paths else self._filenames_to_remove:
            try:
                os.remove(filename)
            except OSError:
                pass

    def _file_name_error(self, message):
        self._error_message = message.message

    def _file_name_changed(self, message):
        self._message = message.datafile

    def test_rename_changes_basename_but_keeps_extension(self):
        RenameFile('quux').execute(self._create_controller())
        assert self._error_message == None
        assert self.ctrl.filename == 'quux.robot'
        assert self.ctrl.data.source == self.ctrl.filename

    def test_rename_preserves_directory_path(self):
        RenameFile('quux').execute(self._create_controller('foo/bar.html'))
        assert self._error_message == None
        assert self.ctrl.filename.endswith(os.path.join('foo', 'quux.html'))

    def test_rename_deletes_old_path(self):
        RenameFile('quux').execute(self._create_controller())
        assert self._error_message == None
        assert self.deleted is True

    def test_rename_saves_file(self):
        RenameFile('quux').execute(self._create_controller())
        assert self._error_message == None
        assert self.saved is True

    def test_rename_publishes_message(self):
        RenameFile('some').execute(self._create_controller())
        assert self._error_message == None
        assert self._message == self.ctrl

    """
    @unittest.skip("Cannot provoke ERROR on Linux")  # Can't produce errors on Linux
    def test_rename_illegal_character_error(self):
        RenameFile("dsk\dన\j$''lkfd\{sjflk$'\'fdslkjl\[\]suite....").execute(
            self._create_controller())
        assert_equal(self._error_message, ERROR_ILLEGAL_CHARACTERS)
    """

    def test_rename_empty_name_error(self):
        RenameFile("").execute(self._create_controller())
        assert self._error_message == ERROR_EMPTY_FILENAME

    def test_rename_newlines_in_name_error(self):
        RenameFile("ashdjashdhjasd\nasdads").execute(self._create_controller())
        assert self._error_message == ERROR_NEWLINES_IN_THE_FILENAME

    def test_rename_already_existing_error(self):
        rename_command = RenameFile("jup")
        rename_command._validator._file_exists = lambda *_: True
        rename_command.execute(self._create_controller())
        assert self._error_message == ERROR_FILE_ALREADY_EXISTS % "jup.robot"

    def _create_controller(self, path='some.robot'):
        self._filenames_to_remove.append(path)
        self.ctrl = TestCaseFileController(TestCaseFile(source=path))
        self.saved = False
        self.deleted = False
        self._message = None
        self._error_message = None
        def save(*args): self.saved = True
        def remove_from_filesystem(*Args): self.deleted = True
        self.ctrl.save = save
        self.ctrl.remove_from_filesystem = remove_from_filesystem
        return self.ctrl

if __name__ == '__main__':
    unittest.main()


text:
<?php

//! DCCTransfer Class

class DCCTransfer
{
	//! Block Size
	/*!
	Integer, the byte size of single blocks that will be sent in transfer.
	> Note: the default size (2048) is recommended because is compatible with most of clients.
	*/
	const block_size = 2048; //Bytes per block

	private $socket;

	private $file;

	private $filesize;

	//! Contructor
	/*!
	\param $socket Socket, the transfer socket already connected.
	\param $file String, the file to transfer.
	\param $filesize Integer, the byte size of file.
	\param $filepointer Integer, optional, the start position of transfer. The offset start from 0 (zero) and it is counted in byte.
	*/
	function __construct($socket, $file, $filesize, $filepointer = 0)
	{
		$this->socket = $socket;
		$this->filesize = $filesize;
		$this->file = fopen($file, "rb");
		fseek($this->file, $filepointer);
	}

	function __destruct()
	{
		fclose($this->file);
	}

	//! Send next block of file
	/*!
	Send the next block of the file to recipient.
	\return TRUE if data are sent correctly or a string containing socket error on failure.
	*/
	function sendNextBlock()
	{
		if(socket_write($this->socket, fread($this->file, self::block_size), self::block_size) === FALSE)
			return socket_last_error();
		else	return TRUE;
	}

	//! Get amount of sent data
	/*!
	\return An integer containing the amount of sent data in bytes.
	> **Warning:** sent data are calculated from filepointer actual position, so is not the really amount of data transfered if you are in a resumed transfer.
	*/
	function getSentData()
	{
		return ftell($this->file);
	}

	//! Get the block size
	/*!
	\return An integer containing the block size in bytes.
	*/
	function getBlockSize()
	{
		return $this::block_size;
	}

	//! Wait until the client close the connection
	/*!
	Wait until the connection is closed by client.
	*/
	function waitForClosing()
	{
		while( !(socket_read($this->socket, 2048) === "") ) {}
	}

	//! Check if you have reached the end of file
	/*!
	\return TRUE if you have reached the end of file or FALSE in other cases.
	*/
	function is_eof()
	{
		if(feof($this->file))
			return TRUE;
		else	return FALSE;
	}

	//! Close the connection
	function closeConnection()
	{
		socket_close($this->socket);
	}
}

?>


Are you looking for a good hit of alcohol that doesn't take much to drink? An alcohol shot is perfect for you. A shot entails just one or two ounces, but that alcohol can go a long way when you consider the details that go into it.
There are many choices you should try out when looking for something appealing and attractive. Each option is useful for not only being detailed and rich in flavor but also not being likely to hurt yourself as you take it all in.
Whiskey is one of the most iconic types of alcohol shots you can enjoy. You can enjoy it on the rocks or neat. The process for fermenting grain mash and distilling whiskey produces a dense flavor unlike anything else. Best of all, you have many choices to consider from the basic to the most heavily distilled options with high alcohol content.
A fireball shot entails the Fireball cinnamon whiskey. This is a low-proof whiskey, but the cinnamon flavor of the fireball shot makes for an intense feeling. You will enjoy a good flavor without getting drunk really fast off of it.
The kamikaze is a classic shot that entails vodka, triple sec, and lime juice mixed together. This produces a fine lime flavor. This works best when served straight up. A traditional cocktail glass may also be utilized for this alcohol shot, although a traditional shot glass might be good enough.
The mind eraser features vodka, coffee liqueur (preferably from Kahlua), and soda water. The striking flavor of the mind eraser makes it a hit.
As the name suggests, the Irish car bomb requires plenty of Irish alcohol products for it to work right. A car bomb will include Irish whiskey, part of an Irish stout, Irish cream, and coffee liqueur. The car bomb is typically mixed in a larger pint glass, what with it requiring a bottle of Irish stout, and then served in several shots. This is a good choice worth sharing even if it isn't St. Patrick's Day.
An interesting part of the B-52 is that this shot is prepared to create a distinct three-layered arrangement. Start at the bottom with a coffee liqueur, and then move to the middle with Irish cream. The top has an orange cognac, typically Grand Marnier, to add to the flavor.
Jägermeister has been used as a digestif for years, what with it being filled with lots of herbs and spices. While it may be used as an ingredient for many other cocktails, Jager bombs have particularly become popular as people take shots of this intriguing German alcohol. This is an inviting option for a shot, but this has to be perfectly chilled for it to work. Also, an energy drink can be added, although this is optional.
Add vodka citron, a triple sec, and lemon juice to produce a sour yet exciting shot. This is a variation of the traditional lemon martini.
The interesting thing about the prairie oyster is that many people use this shot to try and cure hangovers. This includes a mix of brandy, Worcestershire sauce, Tabasco sauce, and part of a raw egg. This has to be blended accordingly, but getting that ready can be a challenge. It is still an interesting adventure that might even help clear one's mind or at least make someone alert.
The popular action movie legend and longtime meme subject has a shot named for him. This includes cherry vodka, preferably UV Cherry, mixed with an energy drink. This works best when a smaller shot glass contains the vodka while that is placed in a larger glass filled with the energy drink completely submerging everything.
Hazelnut and raspberry liqueurs are to be mixed evenly in this recipe. Frangelico hazelnut liqueur works best here.
This last shot is to be prepared on ice and then strained. This includes peach schnapps, Crown Royal, triple sec, and sweet and sour mix.
Each of these choices for an alcohol shot are worth trying out at your next big event. See how all of these options are laid out and you will agree that there are plenty of exciting and unique choices worth trying at your next bar visit.


text:
Andrew Blasky, reply by Denis Donoghue
The Other Country from the December 21, 1967 issue
In his review of The Golden Key (NYR, Dec. 21, 1967), Denis Donoghue writes: "In MacDonald's stories the local evils are considerable, especially when they are our own construction, like Mr. Vane's house which falls upon him in Lilith."
The evils of Lilith are, in fact, considerable; and Mr. Vane experiences a sense of "unspeakable despair, hopelessness blank and dreary" when he finds himself again in his house. My reading, however, reveals no mention of the actual collapse of the house.
C. S. Lewis, in his introduction to George MacDonald: An Anthology (p. 20), refers to "the terror of his own house which falls upon Mr. Vane in Lilith." I am curious as to whether I am misreading MacDonald or Mr. Donoghue is misreading Lewis.
Andrew Blasky
Denis Donoghue replies:
Mr. Blasky is right. It is five or six years since I read Lilith, and my memory is not as reliable as I often hope. Lewis's reference reminded me of Lilith's atmosphere, which I wanted to invoke, as a comparison. I recalled atmosphere, but not enough of event. I am sorry. I should have gone back to text.
Robert Lowell
The Opposite House
The Trusted House
Don Paterson
'House'
November 8, 2012 issue
Robin Robertson
The Custom-House
James Merrill
The House Fly
Stephen Yenser
Milgate House 1976
Jack H. Hexter
The Not-So-New Men
Denis Donoghue
Bright and Silly


Publisher's Corner: Support & Buy Local From Friends!
One of the great joys I have experienced during my 18 years at the helm of The Healthy Planet magazine, is the friendship I have found with many of our clients. There's a strong theme in this edition of "Buy Local" and the many benefits of supporting area businesses. Maybe because I started this magazine as a "redo" in my publishing career and because I am a small business person myself who knows what it's like to struggle at times and wonder if the cash flow will cover the bills. I ask these people to put their faith and hard-earned dollars into advertising in The Healthy Planet and believe me, I know how hard it is to have to pay those bills. And these are not just "advertisers" to me, they are kindred spirits, comrades in small business. It's so hard to make a small business work sometimes, that I am sure many have questioned why do it at all. And then I get tomato plants from Crystal & Eric at La Vista CSA Farm and the fruit it bears reminds me of how things grow. And how hard this young couple toils to make a go of their farm in Godfrey Illinois, bringing up small children, working the land and dealing with fickle climate change. I get great organic gardening advice and the best grass seed ever from Randy Greene at Greene's Country Store. No other seed has ever worked so well in my partly shaded backyard with two frisky dogs and tall oak trees. Randy has learned to "retool" his small business to meet the needs of his customers. My small business friends include Larry Bononi at Freddies Market in Webster Groves. A small neighborhood grocery store working to keep his place in the community when so many small grocers have gone under. He is to be admired for his hard work and staying power. He supports and sells locally made products, produce, meats and other items. And he just happens to make his own ice cubes, the best in town! Luckily there has been a "buy local" movement going on for a few years as the jobs of local farmers become more difficult with each challenging growing season. The innovation of small entrepreneurs continues to grow in a wavering economy. But idealist men and women continue to open small businesses, come up with new products, and create new menus for success. Don't get me wrong, there is nothing easy about running a big business either, but small businesses usually have shallower pockets, often only filled with pennies instead of dollars. And yet they continue to make it work. We continue to make it work. Maybe because we stick together. Most of our Healthy Planet clients are small, local businesses. And the larger businesses we work with support local producers and sell their products. There's not only something human about supporting the guy next door or the woman down the street, there's also something very eco-conscious and value added in this concept. The farther you have to ship something, the more fuel you have to use and the longer it takes something to travel the less fresh it is. Fresh is healthy. Local is "Greener." And buying and supporting local businesses, especially small business is simply the right thing to do for everyone! I know you will find many local resources in our magazine each month and I hope you will support them with your patronage. I can honestly say that I consider many of our clients friends. And that maybe the most important thing that binds small businesses together and keeps us up and running. Friendship.
This entry was posted on Saturday, June 28th, 2014 at 3:09 pm and is filed under July 2014. You can follow any responses to this entry through the RSS 2.0 feed. Responses are currently closed, but you can trackback from your own site.


01 Dec 2012* Income tax Income tax payment due date for companies that were taxable medium to large business clients in the immediate prior year. Income tax lodgment date for non full assessment company entities. Payment date is as per the notice of assessment.
01 Dec 2012* Income tax Income tax payment due date for companies that were required to lodge by 31 October 2012.
01 Dec 2012* Activity statements November 2012 monthly activity statements - final date for lodgment and payment.


Bonjour a Montreal! Jill and contributor Ben Jackson report in from the Montreal 1976 Olympic Village, where they're staying for a few days. They talk about all of things that are holdovers from the Games, as well as some of the quirks of the building.
Our guest this week is Canadian Olympian Olya Ovtchinnikova who competed at the Beijing 2008 Olympics in sabre fencing. In the first part of her interview with Jill, Olya talks about how the sport of sabre works (and why you need to practice watching before Tokyo 2020).
No longer competing, Olya's now working with the Canadian Olympic Committee as a Manager in the Athlete Marketing Program. You can follow her on Twitter here. Follow Team Canada on Twitter, Instagram and Facebook too!
Don't forget about Olympic Fever's Olympic Day! Try a new sport or learn something about the Olympics and Olympic values, post the results on social with #OFOD. You've got until the end of the month to share in the fun (on this episode, Alison shares some of the things she's doing to celebrate).
If you're looking for a good beach read, join our Olympic Fever Book Club. Our first selection is "The Boys in the Boat" by Daniel James Brown. Download the audio version for FREE when you sign up for our 30-day free trial here (we get some support to keep the show going if you do). We'll be talking about the book during the first week of August.


Instant Credit Report Online Articles - Bad credit scores can tarnish an individuals financial record. Often in this situation, it is very difficult to receive low interest rates on loans and credit cards. This situation may also mean the consumer will not be approved for loans at all. Financial problems can lead individuals to depression and other emotional problems. A bad credit score creates serious burdens for people and can often lead to further financial trouble if the situation is not resolved in a timely manner. When financial woes and strain take over an individuals mind and spirit, it is important to seek solace from God. "Be perfect, be of good comfort, be of one mind, live in peace; and the God of love and peace shall be with you" (2 Corinthians 13:11).
Instant Credit Report Online Articles, Banks and their marketing associates and divisions are vying with one another to capture a thick slice of the "credit card pie." Offers by phone and mail of free credit cards, pre-approved credit cards, cards with special bonanzas, money back schemes, low introductory rates, and umpteen other perks pour in tempting you everyday.
Be sure you choose the free report that gives your credit score too. This may cost you around $15 to $20 on some credit reports. Shop around for and look for best deal for you. Your score may be slightly different if you order multiple free credit reports. But you will definitely have an idea about your credit score.
Instant Credit Report Online Articles, Before requesting your credit report online, be sure the website is secure. Getting a credit report online is so quick that it only takes a few minutes. When ordering your report by telephone, make sure you indicate that you want the free report -- the waiting time for one is one to four weeks. If you make your request by mail, however, the report will take up to six weeks or longer to receive.
Better yet, go down to your local bank or mortgage company and apply for a loan (even if you're not interested at this time in getting a loan) and ask them for a copy or your credit report (after your initial meeting and they've called you back). However, make sure it's a tri-merge credit report, which includes information from all 3 credit reporting agencies or your credit report won't be accurate.
Businesses have always been frustrated with courts because juries see things from the consumers point of view. It really bothered businesses that claims had to be legitimate and provable to be enforced. Credit reports and computerized scoring provided the perfect answer. Once US businesses agreed to form their own justice system they no longer had to have proof nor rely on juries to deliver - - now the accusation is the verdict and it is all done with the push of a button.
Instant Credit Report Online Articles - But, many people lack the self-discipline to follow this approach. To successfully get out of debt using this approach, a good self-discipline is very important to keep it up.
By paying more than the minimum, they were reducing the balance on which interest is calculated. Their payment actually go toward reducing their debt - not just staying current on the interest owed. Or, they don't had to made large extra payments (although that would help!) - as little as $25 a month could help chip away at the principal that they owe.
Chances were that they may had approached the first lender they heard about or one whose advertising was more prominent. Generally, that would mean they did not do much research be toe choosing to apply. So that's the first step. Research the market. They would be surprised to note that there could be lenders who may not view they as a high credit risk person. This could be after viewing their scores as well. Remember different lenders use different criteria to decide. So that's good news to they. Apply again or they could be pleasantly surprised.
Instant Credit Report Online Articles, Choosing the best credit reports offers on the internet is love finding a needle in a haystack—a difficult task, but not totally impossible.


text:
Featured ARD• Krimi• SPD• Directivos• Staatsanwaltschaft•
North korea: Close to 100% turnout
"North korea: Close to 100 percent turnout," "the Turnout in the north Korean elections to the supreme people's assembly have reached new record highs, acc
12 March 2019 Tuesday 14:01 - 16 reads.
"North korea: Close to 100 percent turnout,"
"the Turnout in the north Korean elections to the supreme people's assembly have reached new record highs, according to the country's state-controlled news agency KCNA."
"This time landed the figure officially at 99.9 per cent, a participation that do not occur in democracies. The last time, in 2014, the figure was 99.7 per cent."
"It should be said, however, that there was only one eligible candidate for each of the total of 687 parliamentary seats in a country ruled with an iron fist by Kim Jong-Un."
"the Turnout did not reach 100 percent because the"
"By analysts viewed the choice almost as a ritual to be able to assert that the country is ruled with a mandate from the people."


Definition at line 26 of file CQProgressItemBar.h.
Definition at line 27 of file CQProgressItemBar.cpp.
Definition at line 38 of file CQProgressItemBar.cpp.
Definition at line 127 of file CQProgressItemBar.cpp.
References CCopasiParameter::DOUBLE, CCopasiParameter::getType(), CCopasiParameter::INT, CQProgressItem::mpItem, mStart, pdelete, CCopasiParameter::Value::pDOUBLE, CCopasiParameter::Value::pINT, CCopasiParameter::Value::pUINT, CCopasiParameter::UDOUBLE, and CCopasiParameter::UINT.
Referenced by initFromProcessReportItem(), and ~CQProgressItemBar().
Definition at line 151 of file CQProgressItemBar.cpp.
References CQProgressItem::mpItem, mStart, and CCopasiParameter::Value::pVOID.
Definition at line 45 of file CQProgressItemBar.cpp.
References destroy(), FROM_UTF8, CProcessReportItem::getEndValue(), CCopasiObject::getObjectName(), CCopasiParameter::getValue(), mEnd, mLastSet, CQProgressItem::mpItem, mStart, mValue, CCopasiParameter::Value::pVOID, and reset().
Definition at line 63 of file CQProgressItemBar.cpp.
References mCurrentValue, mLastSet, and mpSetValue.
Definition at line 76 of file CQProgressItemBar.cpp.
References C_FLOAT64, C_INT32, CCopasiParameter::DOUBLE, CCopasiParameter::getType(), CCopasiParameter::INT, mEnd, mFactor, CQProgressItem::mpItem, mpSetValue, mStart, mValue, CCopasiParameter::Value::pDOUBLE, CCopasiParameter::Value::pINT, process(), CCopasiParameter::Value::pUINT, setValueFromDOUBLE(), setValueFromINT(), setValueFromUINT(), CCopasiParameter::UDOUBLE, and CCopasiParameter::UINT.
Definition at line 118 of file CQProgressItemBar.cpp.
References C_INT32, mCurrentValue, mFactor, mStart, mValue, and CCopasiParameter::Value::pDOUBLE.
Definition at line 121 of file CQProgressItemBar.cpp.
References C_INT32, mCurrentValue, mFactor, mStart, mValue, and CCopasiParameter::Value::pINT.
Definition at line 124 of file CQProgressItemBar.cpp.
References C_INT32, mCurrentValue, mFactor, mStart, mValue, and CCopasiParameter::Value::pUINT.
Definition at line 45 of file CQProgressItemBar.h.
Referenced by process(), setValueFromDOUBLE(), setValueFromINT(), and setValueFromUINT().
Definition at line 41 of file CQProgressItemBar.h.
Referenced by initFromProcessReportItem(), and reset().
Definition at line 40 of file CQProgressItemBar.h.
Referenced by reset(), setValueFromDOUBLE(), setValueFromINT(), and setValueFromUINT().
Definition at line 44 of file CQProgressItemBar.h.
Referenced by initFromProcessReportItem(), and process().
Definition at line 39 of file CQProgressItemBar.h.
Definition at line 42 of file CQProgressItemBar.h.
Referenced by destroy(), init(), initFromProcessReportItem(), reset(), setValueFromDOUBLE(), setValueFromINT(), and setValueFromUINT().
Definition at line 43 of file CQProgressItemBar.h.
Referenced by initFromProcessReportItem(), reset(), setValueFromDOUBLE(), setValueFromINT(), and setValueFromUINT().