Abersoch Holiday Cottage at Cilan Fawr Holidays,Abersoch,Lleyn Peninsula, Gwynedd, North Wales, Abersoch holiday accommodation, Abersoch Camping and Caravan Site, for caravans and tents, also Cilan Riding Centre, Abersoch horse riding.
Croeso/Welcome to Cilan Fawr Holidays.
We are a long established family business, Cilan Fawr Holidays is situated on the Cilan Headland overlooking Abersoch, Hells Mouth Bay (Porth Neigwl), Bardsey Island (Ynys Enlli - Isle of Saints) and the Snowdonia mountain range. The Lleyn Peninsula is bathed by the Gulf Stream giving Abersoch and the surrounding area a mild, temperate climate throughout the year. All the activities associated with a coastal holiday resort are available at their very best, at Abersoch. These include sailing, surfing, swimming, fishing, golfing, rambling, horse riding and cycling, to name but a few. Further afield, but within easy reach, are the Little Trains of Wales, Museums, castles and the magnificent Snowdonia range, with Snowdon the hightest mountain in Wales.
The Lleyn Peninsula is designated as an area of outstanding natural beauty and Cilan Headland as a Site of Special Scientific Interest, having rare flora and fauna. The views are truly stupendous with panoramic sights of Bardsey Island, Hells Mouth Bay, Snowdonia and Cardigan Bay.The several sandy beaches along the coastline of the Lleyn are within easy reach from the Abersoch area. Local beaches are only a few minutes away.
We offer self catering accomodation in our properties, as well as camping on our Camping and Caravan Certificated Site. Our Visit Wales accredited Cilan Riding Centre is available for Pony Trekking during the main summer season. Emlyn and Hilda Williams live at Cilan Fawr and are available throughout the year to welcome you and your family.
Conveniently situated one and a half miles from the centre of Abersoch village. The bungalow has full central heating (combination night store/convector heaters) and is available throughout the year, including Christmas and New Year.
A modern comfortable three bedroom bungalow.
Camping and Caravainning Certificated Site.
A quiet family site situated on the Cilan headland, with panoramic views of Hell's Mouth Bay, Bardsey Island and Snowdonia. Ideal for water sports enthusiasts, and lovers of the countryside and sea area, who enjoy the wildlife (rare flora and fauna) and panoramic views of the Lleyn peninsula, or enjoy walking, fishing, sailing, golf, water sports, horse riding, surfing, jet skiing, swimming, cylcing, visiting Snowdonia and other local places, or just relaxing.
Ladies & Gents flush toilets and showers.
Wales Trekking & Riding Association Approved.
Hourly rides on the Cilan Headland. Experience, novice riders and children welcome.
Please contact Emlyn & Hilda Williams, Cilan Fawr, Cilan, Abersoch, North Wales LL53 7DD.
for rates, availablity and further information.
Whilst every care is taken to ensure that details given in any document, map, photograph, plan or on the internet etc., are correct, the owner or agent reserve the right to alter or amend amenities or facilities without prior notice.
A view of Abersoch from the Cilan headland.


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An Interview with Meow Wolf's Vince Kadlubek
BY Victoria Spencer — January 20, 2020
Meow Wolf is an art collective and production company based in Santa Fe, NM. Its first permanent immersive installation, The House of Eternal Return, premiered this spring to national acclaim. The experience invites visitors to explore the home of a Northern California family with mystical powers. As it quickly becomes apparent, there's more to the property than meets the eye.
FoST spoke to the company's CEO, Vince Kadlubek, about time and space, George R.R. Martin, and the nature of creativity.
This interview has been edited for clarity.
Victoria Spencer: Could you start off by explaining Meow Wolf for those who have never been there before?
Vince Kadlubek: Meow Wolf is an art collective that has evolved into what I would call an arts production company. We've produced art and immersive storytelling experiences that are largely based around visual and interactive art. It's multimedia, it's all over the place—it's video and audio and sculpture, painting, writing, performance, and truly any medium of expression combined into a single space, essentially.
Meow Wolf was first creating these exhibits back in 2008, and we created them for many years out of materials that we had pulled out of dumpsters and whatever else we could do to just fill a space. And we realized that what we liked to do the most was put people inside of environments. Those environments started off as pretty abstracted concepts. Not literal. And then they took a turn towards more literality, at least in some sort of framework, when we got more interested in the narrative or storytelling aspect of our shows. We started to make more environments that could be recognized, like houses, forests, caves—things that actually have names to them. So narrative slowly creeps in. We first fell in love with environment, and then from environment came [questions like] who inhabits this environment? What is this environment? Where did this environment come from? And then those questions led to narrative. They led to setting. And then that seems to evolve now to the point where narrative is a core element of the installation. It is the piece that brings the general population to experience it. So that kind of fast-forwards to the House of Eternal Return.
The House of Eternal Return is definitely the most narrative piece we've ever done. It's pretty literal. You first walk into the front yard of a house, and inside of this house—this eighteen hundred square foot house, two stories—you can explore [its inhabitants'] lives: read their journals, flip through their photo albums, go through their drawers—whatever you want to do. And that is the real hub of storytelling, inside of the house.
Something happened in the house that caused time and space to rip open, and so there are these wormholes attached to the house that lead through to the other dimensions. Those other dimensions are much more abstracted visual art. They don't need to be tethered to narratives that you need within time and space. The house is where the narrative is, and it opens into a world of fragmentation. So that's sort of how we set it up. And the characters, the family that lives in the house, they are a sort of a classic, everyday, middle class white family that lives in Northern California, and they are part of a bloodline that has existed since the beginning of the universe that now shows itself through human form but has existed long before humans have ever existed. We call it the bloodline or we call it the creative force or we call it chaos, and it's this yearning for more. It's pushing boundaries, it's the breaking of the rule, it's curiosity, it's creativity. It's the thing that creates out of nothing, that has such an agitation within itself to create out of nothing.
We're all some branch of this, but the family is the most direct bloodline. They all have crazy powers in different forms. The mother, the father, the kid—they all have different sorts of powers, supernatural powers. But they all sort of have some elements of reservation or hesitance about who they are and what their powers are. The mother character is especially protective of herself and her kids messing around with these powers because she's been traumatized by various things in her life to make her think that these powers are evil.
And the opposite force in our story is a force called the charter. The charter is a lot of things. It also existed long before humans existed—since the beginning of the universe. The charter was an agreement really made between the creative force and one myth to say: OK, you can go out and fragment. You can go out and create. You can go out and yearn for more and expand and keep reaching—as long as you play by these rules. The charter was, at first, just an agreement. It was just a thought, but then the charter expanded and now takes human form: it's the NSA, it's the government, it's the police, it's stop signs. It's taken its form in a lot of different structural ways that keep the creative contained.
This is the dance that happened over the history of the universe, where suppression promotes expression, and then suppression captures that expression and keeps it locked down, and then expression forces it back out. It's like this breathing mechanism that has pushed humanity to the brink of the fifth dimension and that's basically where the family is. Ground zero of the transition into the fifth dimension happens inside of our house, and so that's what you get to experience. So that's essentially the story.
VS: How did the narrative come to be?
VK: One person came up with one idea, and then a few other people started adding, and then those [people] became the writing group. But then all the artists built around this idea vaguely. It's all done by collective.
VS: Let's talk about the venue for a second, which used to be the Silva Lanes bowling alley. What was the process of building this out?
VK: That's like asking me what the last two years have been like in my life.
VS: [Laughs.] When did you see the property and decide that it was the place?
VK: I grew up in Santa Fe, and Silva Lanes was always the place that we'd go when there was a birthday or we wanted to do something fun. We always knew about it, but we thought it was too big for us to take on, so I never really thought about it seriously. We were without a space for a while, and I ended up seeing the bowling alley and just falling in love with it. This was in August of 2014—so, two years ago—longer than two years ago. I saw the bowling alley and was like, Oh my god—we have to try to take this project on. We can really do this. And then that's where it happened.
VS: How many people were you working with at that time?
VK: Nobody.
VS: It was just you? So who did you bring on to help?
VK: Meow Wolf existed since 2008, but at that time we hadn't really been doing much with each other. So I was mostly just by myself. I saw the building by myself, and once I felt good about it, I went back to some of the key people and was like, Hey, we should do this project, and then people got onboard. That was the genesis of it. We had no money, and we didn't really know how we were going to buy this million-dollar building and put another million dollars into it, so it was a long shot. It was a total pipe dream. Nobody thought that it could happen.
So then it was like, OK, who can we talk to? I knew George R.R. Martin, and I was like, "Hey, George, do you want to buy this building?" And he said, "Sure, I'd love to buy that building." OK, awesome, cool, let's do this. He really liked what Meow Wolf was doing, so we went on a six-month period of time where George was in the process of trying to buy the building for this project, and it finally went through, and then it was like, OK, the project is on.
In January of 2015, we started fundraising for the project, we started to hire people, and we started to design the project. It was a bunch of self-starting art collective people who have no business history and no history of large-scale production coming together and just figuring this shit out. It was first a team of six, and then it was a team of 14, and then it went to 40, and then it was 100, and then it was 150 by the time everything was done. That was over the course of a year and a half.
It was kind of chaos for people. It was deeply embedded into our brains, and it was insane the types of places that we went to for this project. It was a combination of chaos and order. It was the bloodline and the charter inside of ourselves at all times trying to figure out this whole project. It's been a lot of hard work, just committing to ideas that were impossible and saying, Nope this is possible. Fundraising was a son of a bitch. Every single day I would wake up and wonder where the next 25,000 dollars would come from. We raised $2.7 million, almost all of which went towards artists and material. We had people on payroll for multiple weeks. It was a crazy, crazy project.
VS: That sounds massive. When I think about House of Eternal Return, I always think about it in terms of these New York immersive theater performances like Sleep No More, or some of the stuff that Third Rail Projects produces. Has this kind of work influenced you at all, or do you think about Meow Wolf as being in a different category?
VK: We're definitely both immersive experiences. I mean, unfortunately many immersive theater performances only service the elite because that's just their model. You have to have a lot of money to get in. And we're the opposite. We want every single person, no matter your socioeconomic background, to have an incredible immersive experience. We love what they do, though.
VS: Open accessibility seems to be one of the major aspects of Meow Wolf. I know that part of your audience also consists of kids. I'm curious how you think their experience changes as a kid versus an adult?
VK: A kid is going to see the entire thing as a wonderland. They view it as a playground. They run around, they just play with it. Adults think about it more as a place to be inquisitive and inspect what's inside of the space and how we made it and what it all means. We build it for both—we build it for play, we build it for sophistication.
VS: What has the response been like from the Santa Fe community?
VK: They love it. Across the board, everyone loves it. It's an insane phenomenon. We have such great supporters in Santa Fe.
VS: Is there anything else next in the books for you guys?
VK: Moving to big cities. We're going to be doing this five times the size of Santa Fe, doing it in larger cities, supporting more artists, making crazier things happen. That's what's on the agenda.
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redpajama_set_name: RedPajamaCommonCrawl


Uber employees have access to customer trip information, and they're using it to spy on ex-girlfriends and celebrities like Beyoncé, a former employee claims.
A new piece out from Reveal's Will Evans details Uber's history with security and privacy. The story cites the experience of Ward Spangenberg, Uber's former forensic investigator who was fired from the company last February. Spangenberg is suing Uber, alleging wrongful termination, defamation, and age discrimination.
In a stunning October court declaration, Spangenberg alleges that Uber employees freely accessed trip information about celebrities and politicians and helped one another spy on ex-boyfriends and ex-girlfriends by tracking where and when they traveled. Spangenberg, who worked at Uber for 11 months, said the company's lack of security violated consumer-privacy and data-protection regulations.
Reveal spoke with five former Uber employees who also said employees could easily track customers — they estimated the number of employees with such access was in the thousands.
Earlier this year, Uber signed an "assurance of discontinuance" vowing to keep its users' personal information private after the New York attorney general began investigating the company's use of a tool called "God View." The tool provided Uber an aerial view of all of the cars in a city and contained the personal information of the riders in them.
As part of the settlement, Uber said it had "removed all personally identifiable information of riders from its system that provides an aerial view of cars active in a city, has limited employee access to personally identifiable information of riders, and has begun auditing employee access to personally identifiable information in general."
Reveal reports that Uber also changed the name of that tool to "Heaven View."
But the former employees Reveal spoke with suggested not much had changed since January and the new policies were never enforced. While employees who are caught tracking customer data without permission are fired, Spangenberg told Reveal that "if you knew what you were doing, you could get away with it forever."
Uber disputes the claims and maintains that it has strict policies in place to protect customer information.
"Uber continues to increase our security investments and many of these efforts, like our multi-factor authentication checks and bug bounty program, have been widely reported," an Uber representative wrote in a statement emailed to Business Insider. "We have hundreds of security and privacy experts working around the clock to protect our data. This includes enforcing strict policies and technical controls to limit access to user data to authorized employees solely for purposes of their job responsibilities, and all potential violations are quickly and thoroughly investigated."
Uber says employees don't receive across-the-board access to customer data and there are several controls in place to ensure that employees only access that data for work purposes. That data access is logged and frequently audited, the company says.
Reveal delves further into the case and Uber's privacy and security issues over the past few years, so head over to Reveal's site for more.


text:
Trop la classe café ! est une série télévisée française en 26 épisodes de 5 minutes diffusée à partir du  sur Disney Channel. C'est une série dérivée de Trop la classe.

Synopsis
Une bande de lycéens travaille dans un café pour gagner un peu d'argent.

Distribution
Côme Levin : Nico
 Paul-Alexandre Bardela : Spy
 Grégoire Gempp : Théo
 François Civil : Dread
 Emmanuel Garijo : Vincent
 Manon Azem : Dunk
 Arthur Ligerot : Arthur
 Marieke Bouillette : Valentine
 Sophie Chen : Jeanne

Épisodes

 Un job et des potes
 Formation
 Sur écoute
 Lip dub
 La moto
 Zombies
 L'employé du jour
 Salut les d'jeuns !
 Le poisson rouge
 Alors on danse !
 Val à roulettes
 Le critique
 English lesson
 Le cours de cuisine
 Le couple du nouvel an
 Le méchant
 Barbecue
 Serveuse, s'il-vous-plait !
 Quels talents !
 Arnaque
 Enfermée en cuisine
 Tout le contraire
 Tout beau, tout bio...
 Le petit amoureux
 Les clientes sont reines
 L'adversaire

Voir aussi

Articles connexes
 Trop la classe, série originale

Lien externe

Série télévisée créée en 2011
Série télévisée française des années 2010
Série télévisée de Disney Channel
Sitcom française

redpajama_set_name: RedPajamaWikipedia


The Hematology and Medical Oncology Division focuses on three major categories of research: clinical trials, laboratory-based basic research and laboratory-based translational work. A particular emphasis on translational patient-oriented research allows patients involved in clinical trials to benefit earlier from bench observations. This approach facilitates advances in personalized medicine where, for example, molecular markers found in the laboratory examination of tissue predict outcomes that help determine the type of chemotherapy that should be given to an individual patient.
Basic research studies within the division are aimed at understanding the molecular basis of human blood diseases and cancer. These include programs in basic cancer biology and genetics focusing on solid tumor cancers such as lung cancer, prostate cancer and kidney cancers, as well as acute and chronic leukemias, lymphomas, myelodysplastic syndromes and myeloma, developmental biology (including angiogenesis, stem cell biology, and cardiac development), vascular biology (including atherosclerosis, the tumor vascular bed and thrombotic thrombocytopenic purpura) and basic mechanisms of resistance to chemotherapy.
Translational research includes research projects concerning leukemia, lymphoma, multiple myeloma, prostate cancer, lung cancer, breast cancer, gastrointestinal cancers, thrombosis, bone marrow/stem cell transplantation and tumor immunology. Clinical trials conducted within the division are aimed at testing new therapies in patients with cancer and blood diseases, allowing our patients to receive agents that are not widely available in the community.
Our research is supported by a large number of grants from the National Institutes of Health (including the National Cancer Institute, National Heart, Lung, and Blood Institute, and the National Institute of Neurological Diseases and Stroke), the American Cancer Society, the Department of Defense, the American Society of Hematology, the Leukemia and Lymphoma Society of America, the Howard Hughes Medical Institute, the Prostate Cancer Foundation, the Jimmy V Foundation, the American Foundation for AIDS Research, and many pharmaceutical and biotechnology companies.
In FY15, the Hematology and Medical Oncology Division received more than $18 million for cancer and blood disease research. These awards funded more than 120 active research projects.


A screening of "Janeane From Des Moines" by Grace Lee to benefit One Vote At A Time.
Want to raise money for a candidate or cause? Host a bake sale, BBQ, a viewing of your favorite TV show. or even a screening of a movie. Invite a group of people to literally anything and ask them to chip in a few dollars. And with the beauty of the internet, you can still encourage them to donate even if they can't attend.
Be sure to have the donation information available if people want to write a check or a laptop set up so people can donate online right then and there. Having material about the organization or candidate, so people can learn more is also a nice touch.


Our travels across the globe have taken us over breathe-taking mountain ranges, across seemingly endless plains, through deep dark jungles and more recently into the worlds incredible oceans. What you see in my paintings is a direct reflection of these experiences including encounters with Gorillas, following the life of a family of Tigers or waking up to a Grizzly sleeping outside our tent. Closely using reference photos I've taken in the field my creative goal is to open a small window into the natural world of the subject. With time and patience dedicated to each piece I strive to show the viewer the beauty of the animal in its natural habitat and visually convey why these amazing creatures deserve to continue sharing this world with us. Each piece I create has a place and a time when this wonderful animal revealed itself to us and I am more than happy to share it with you.


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Twenty-nine years after its release, Young Marble Giants' legendary 'Colossal Youth' (on Rough Trade Records, recorded in 1980 in five days and mixed in 20 minutes) remains a landmark in post-punk music, an enigma of its own, acclaimed by musicians and audience over the years.
Formed in 1978 in Cardiff, the trio's music was constructed around the powerful and minimal instrumentation of brothers Philip and Stuart Moxham on bass and guitar, supporting the naive untrained vocals of Alison Statton.
The band split in 1980, reformed in 2006 for a world-wide serie of amazing shows (with Julie Tippex!) and called it a day in 2015.
In the 80s, after Young Marble Giants, Stuart played with The Gist, Alison with Week End and Spike. The big news in 2018 is that, following the reissues by the label Tiny Global Productions of The Gist and of Alison and Spike's new album, the three of them decided to go back on the road.
So join us for 'An Evening of talk and music with Stuart Moxham and Alison Statton, formerly of Young Marble Giants, and Spike, formerly of Weekend'.
The first show was in Barcelona in 2017 at the Primera Persona festival ; Aliso, Stuart and Spike played an acoustic showcase of some of their old songs. They also took the time to tell the story of that mysterious and cultish band whose carrer went like a meteor. You can now watch a video of that show.
The Alison, Spike and Stuart show is available for more shows, get in touch with pascal@julietippex.com
Photo by Renaud Monfourny
Here is a list of the shows that YMG played between 2007 and 2015:
27 May 2007: Hay Festival, Hay-on-Wye, UK
28 October 2007 : Festival BBMIX, Boulogne-Billancourt, France
29 May 2008 : Auditorio Caixaova, Festival Sinsal, Vigo, Spain
30 May 2008 : Casa da Musica, Porto, Portugal
31 May 2008 : Festival Primavera, Barcelona, Spain
1 November 2008: Factory Festival, Nivelles, Belgium
14 November 2008: Sun Festival, Cardiff, UK
16 January 2009: Hebbel Theater/HAU, Berlin, Germany
9 May 2009: All Tomorrow Parties Festival. Minehead, Sommerset, UK – The band performed the complete Colossal Youth album
2 May 2010: Camden Crawl Festival, London
1 June 2010: Villette Sonique Festival, Paris
16 Oct 2010: Le Lieu Unique, Nantes, FR
10 Dec 2010: Midi Festival, Opéra de Toulon, Toulon, FR
9 March 2012 All Tomorrow Parties Festival. curated by Jeff Mangum (Neutral Milk Hotel), Minehead, Sommerset, UK. That was the day they met again with label mates The Raincoats for the first time in decades:
Left to right: Alison, Stuart (YMG), Anna, Anne (Raincoats), Phil (YMG) and Gina (Raincoats).
13 October 2012: Teatro Municipal de Vila do Conde, Porto, Portugal
10 February 2013: Dingwalls, London
16 March 2013: Festival Avaulx Jazz, Vaux-en-Velin, France
20 September 2013: Union Chapel, London
14 December 2013: Week-End Festival, Koln, Germany
20 September 2014: Strange Wales Music and Film, Laugharne, UK
19 October 2014: Dancehouse, Manchester, UK
20 October 2014: Stereo, Glasgow, UK
7 March 2015: Kraak festival / Netwerk center for contemporary art, Aalst, Belgium
3 July 2015: Festival Mimi, Iles du Frioul, Marseille, France
6 August 2015: Grassroots Fundraiser, The Globe, Cardiff
27 August 2015: Meltdown Festival curated by David Byrne, Royal Festival Hall, London – the final show.
Press: [Jeff Mangum's] selection for the rest of Friday remained in a classic, cult vein, with Young Marble Giants performing their genius 1980 album 'Colossal Youth' – an intimidatingly pared down exercise in introspective new wave that was recorded in four days in rural Wales and remains frozen in time. The naively sweet vocals of Alison Stratton chirrup over Philip Moxham's plundering basslines on 'Searching For Mr Right' and 'Salad Days', while 'N.I.T.A.' and 'The Man Amplifier' introduce their trademark Wurlitzer wobbles. Their sound is like nothing preceding or since – if anybody dared to imitate it would inevitably end in messiness as this level of simplicity requires seamless execution. YMG achieve this with trademark poise, closing with 'Credit In A Straight World', a song later covered in a slightly more belligerent manner by Courtney Love's Hole. clashmusic.com/


The 2016 CONVERGE Conference is solidThinking, Inc.'s, new community initiative to engage, enlighten, and inspire both design and engineering professionals in various product design and manufacturing markets, including AEC and MCAD.
The invite encourages their audience to "refuel" by joining an exciting community of creative peers and innovators to uncover strategies behind top products.
At the conference participants will hear from leaders across industries, discover interesting new technologies, and leave with a new approach to product design.
The all-inclusive schedule is designed to cover key strategies for product research, conceptualization, and refinement. To learn more and sign up for the CONVERGE event visit its dedicated web page here and join an email list. From there the company will send interested participants more information so they can stay in the loop.
01 – Google design by Francesco Di Giuseppe created in solidThinking Evolve 2016. All rights reserved. solidThinking just recently announced the new solidThinking Evolve 2016.
At this point there is no date set for the conference available publicly, so those interested should sign up to learn more and likely gain the date projection for when the conference will occur.
The design-themed user conference is gaining in popularity in the CAD and 3D industry so it does not surprise to learn of this event being formed. The folks at solidThinking have some very talented users and connections in the world of product design so the event should pack a punch and be inspirational.


Loose A-line shaped dress with 3/4 sleeves. Inseam pockets and sweeping hemline. Hand dyed in Ghana.
Osei-Duro garments are hand dyed and each piece is unique. Please note that print placement and hue may vary. All sale items are final sale.
Dry clean or hand wash cold, hang dry.
Hand dyed. Made in Ghana.


text:
The turn formation at positions 22 and 23 in the 42-mer amyloid β peptide: The emerging role in the pathogenesis of Alzheimer's disease
Kazuma Murakami, Yuichi Masuda, Takuji Shirasawa, Takahiko Shimizu, Kazuhiro Irie
PHA - Molecular Pharmaceutical Science
One hallmark of Alzheimer's disease (AD) is the accumulation of amyloid β (Aβ) peptides in the brain; Aβ mainly consists of 42-mer and 40-mer peptides (Aβ42 and Aβ40). Aβ42 plays a more critical role in the pathogenesis of AD because Aβ42 aggregates much faster and is more toxic than Aβ40. Therefore, there is an urgent need to elucidate the mechanism of aggregation and neurotoxicity of Aβ42 to develop therapeutic agents. Here, we introduce the pathological role of Aβ42 in AD and review our recent findings of the structural analysis of Aβ42 using systematic proline replacement, electron spin resonance and solid-state nuclear magnetic resonance, and the new mechanism of neurotoxicity of Aβ42 through the formation of radicals.
S169-S179
Geriatrics and Gerontology International
Published - 2010 Jul
Nuclear magnetic resonance
Health(social science)
Fingerprint Dive into the research topics of 'The turn formation at positions 22 and 23 in the 42-mer amyloid β peptide: The emerging role in the pathogenesis of Alzheimer's disease'. Together they form a unique fingerprint.
dementia Social Sciences
Amyloid Medicine & Life Sciences
peptide A42 Medicine & Life Sciences
Electron Spin Resonance Spectroscopy Medicine & Life Sciences
structural analysis Social Sciences
aggregation Social Sciences
Murakami, K., Masuda, Y., Shirasawa, T., Shimizu, T., & Irie, K. (2010). The turn formation at positions 22 and 23 in the 42-mer amyloid β peptide: The emerging role in the pathogenesis of Alzheimer's disease. Geriatrics and Gerontology International, 10(SUPPL. 1), S169-S179. https://doi.org/10.1111/j.1447-0594.2010.00598.x
The turn formation at positions 22 and 23 in the 42-mer amyloid β peptide : The emerging role in the pathogenesis of Alzheimer's disease. / Murakami, Kazuma; Masuda, Yuichi; Shirasawa, Takuji; Shimizu, Takahiko; Irie, Kazuhiro.
In: Geriatrics and Gerontology International, Vol. 10, No. SUPPL. 1, 07.2010, p. S169-S179.
Murakami, K, Masuda, Y, Shirasawa, T, Shimizu, T & Irie, K 2010, 'The turn formation at positions 22 and 23 in the 42-mer amyloid β peptide: The emerging role in the pathogenesis of Alzheimer's disease', Geriatrics and Gerontology International, vol. 10, no. SUPPL. 1, pp. S169-S179. https://doi.org/10.1111/j.1447-0594.2010.00598.x
Murakami K, Masuda Y, Shirasawa T, Shimizu T, Irie K. The turn formation at positions 22 and 23 in the 42-mer amyloid β peptide: The emerging role in the pathogenesis of Alzheimer's disease. Geriatrics and Gerontology International. 2010 Jul;10(SUPPL. 1):S169-S179. https://doi.org/10.1111/j.1447-0594.2010.00598.x
Murakami, Kazuma ; Masuda, Yuichi ; Shirasawa, Takuji ; Shimizu, Takahiko ; Irie, Kazuhiro. / The turn formation at positions 22 and 23 in the 42-mer amyloid β peptide : The emerging role in the pathogenesis of Alzheimer's disease. In: Geriatrics and Gerontology International. 2010 ; Vol. 10, No. SUPPL. 1. pp. S169-S179.
@article{6429fe061c6d435dba730f9083e06b36,
title = "The turn formation at positions 22 and 23 in the 42-mer amyloid β peptide: The emerging role in the pathogenesis of Alzheimer's disease",
abstract = "One hallmark of Alzheimer's disease (AD) is the accumulation of amyloid β (Aβ) peptides in the brain; Aβ mainly consists of 42-mer and 40-mer peptides (Aβ42 and Aβ40). Aβ42 plays a more critical role in the pathogenesis of AD because Aβ42 aggregates much faster and is more toxic than Aβ40. Therefore, there is an urgent need to elucidate the mechanism of aggregation and neurotoxicity of Aβ42 to develop therapeutic agents. Here, we introduce the pathological role of Aβ42 in AD and review our recent findings of the structural analysis of Aβ42 using systematic proline replacement, electron spin resonance and solid-state nuclear magnetic resonance, and the new mechanism of neurotoxicity of Aβ42 through the formation of radicals.",
keywords = "Alzheimer's disease, Amyloid, Electron spin resonance, Nuclear magnetic resonance, Oxidative stress",
author = "Kazuma Murakami and Yuichi Masuda and Takuji Shirasawa and Takahiko Shimizu and Kazuhiro Irie",
pages = "S169--S179",
journal = "Geriatrics and Gerontology International",
publisher = "Japan Geriatrics Society",
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T2 - The emerging role in the pathogenesis of Alzheimer's disease
AU - Murakami, Kazuma
AU - Masuda, Yuichi
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AU - Shimizu, Takahiko
AU - Irie, Kazuhiro
N2 - One hallmark of Alzheimer's disease (AD) is the accumulation of amyloid β (Aβ) peptides in the brain; Aβ mainly consists of 42-mer and 40-mer peptides (Aβ42 and Aβ40). Aβ42 plays a more critical role in the pathogenesis of AD because Aβ42 aggregates much faster and is more toxic than Aβ40. Therefore, there is an urgent need to elucidate the mechanism of aggregation and neurotoxicity of Aβ42 to develop therapeutic agents. Here, we introduce the pathological role of Aβ42 in AD and review our recent findings of the structural analysis of Aβ42 using systematic proline replacement, electron spin resonance and solid-state nuclear magnetic resonance, and the new mechanism of neurotoxicity of Aβ42 through the formation of radicals.
AB - One hallmark of Alzheimer's disease (AD) is the accumulation of amyloid β (Aβ) peptides in the brain; Aβ mainly consists of 42-mer and 40-mer peptides (Aβ42 and Aβ40). Aβ42 plays a more critical role in the pathogenesis of AD because Aβ42 aggregates much faster and is more toxic than Aβ40. Therefore, there is an urgent need to elucidate the mechanism of aggregation and neurotoxicity of Aβ42 to develop therapeutic agents. Here, we introduce the pathological role of Aβ42 in AD and review our recent findings of the structural analysis of Aβ42 using systematic proline replacement, electron spin resonance and solid-state nuclear magnetic resonance, and the new mechanism of neurotoxicity of Aβ42 through the formation of radicals.
KW - Alzheimer's disease
KW - Amyloid
KW - Electron spin resonance
KW - Nuclear magnetic resonance
KW - Oxidative stress
SP - S169-S179
JO - Geriatrics and Gerontology International
JF - Geriatrics and Gerontology International


Home / Gift Card / Emilia Ceramics – $150 Gift Card – Give the Gift of Emilia Ceramics!
Emilia Ceramics – $150 Gift Card – Give the Gift of Emilia Ceramics!
Unsure what exactly they need, but sure they'll love something from Emilia Ceramics?! Give a gift card and let them choose.


Candy_Kitten is a lvl 60 rich player.
My sister tried to play cubic castles too. She ended up deleting it because she couldnt pass The Blue Course.
Yes, very. He's salty that the entire "team of rich familia" has cut off all contact with him for being salty.
But do you have any cousins that play?
Spooky just because grace Jack and I are successful does not mean we are bragging.
We all started this game almost four years ago, and you started like 4 months ago.
The thing is, you are all successful in your own ways. Everyone will find their way, just give it time.
HAPPY BELATED BIRTHDAY BUBBLEGUM GIRL.
Bubblegum Blaze changed their profile picture.


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My bibliography Save this article
The Impact of Age Pension Eligibility Age on Retirement and Program Dependence: Evidence from an Australian Experiment
Kadir Atalay
(University of Sydney)
Garry F. Barrett
Garry Barrett
Governments around the world are reforming their social security systems in light of the challenges posed by population aging. We study the 1993 Australian Age Pension reform, which progressively increased the eligibility age for women from 60 to 65 years. We find economically significant responses to the reform. An increase in the eligibility age of one year induced a decline in the probability of retirement by 12 to 19 percentage points. In addition, the reform induced significant program substitution, with increases in enrollment in other social insurance programs, particularly the disability support pension, which effectively functioned as an alternative source of retirement income. © 2015 The President and Fellows of Harvard College and the Massachusetts Institute of Technology
Kadir Atalay & Garry F. Barrett, 2015. "The Impact of Age Pension Eligibility Age on Retirement and Program Dependence: Evidence from an Australian Experiment," The Review of Economics and Statistics, MIT Press, vol. 97(1), pages 71-87, March.
Handle: RePEc:tpr:restat:v:97:y:2015:i:1:p:71-87
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Kadir Atalay & Garry F. Barrett, 2012. "The Impact of Age Pension Eligibility Age on Retirement and Program Dependence: Evidence from an Australian Experiment," Social and Economic Dimensions of an Aging Population Research Papers 295, McMaster University.
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Mastrobuoni, Giovanni, 2009. "Labor supply effects of the recent social security benefit cuts: Empirical estimates using cohort discontinuities," Journal of Public Economics, Elsevier, vol. 93(11-12), pages 1224-1233, December.
Giovanni Mastrobuoni, 2005. "Labor Supply Effects of the Recent Social Security Benefit Cuts: Empirical Estimates Using Cohort Discontinuities," Carlo Alberto Notebooks 33, Collegio Carlo Alberto, revised 2006.
Giovanni Mastrobuoni, 2006. "Labor Supply Effects of the Recent Social Security Benefit Cuts: Empirical Estimates Using Cohort Discontinuities," Working Papers 66, Princeton University, Department of Economics, Center for Economic Policy Studies..
Giovanni Mastrobuoni, 2006. "Labor Supply Effects of the Recent Social Security Benefit Cuts: Empirical Estimates Using Cohort Discontinuities," Working Papers 893, Princeton University, Department of Economics, Industrial Relations Section..
Blundell, Richard & Macurdy, Thomas, 1999. "Labor supply: A review of alternative approaches," Handbook of Labor Economics, in: O. Ashenfelter & D. Card (ed.), Handbook of Labor Economics, edition 1, volume 3, chapter 27, pages 1559-1695, Elsevier.
Richard Blundell & Thomas MaCurdy, 1998. "Labour supply: a review of alternative approaches," IFS Working Papers W98/18, Institute for Fiscal Studies.
Courtney Coile & Jonathan Gruber, 2007. "Future Social Security Entitlements and the Retirement Decision," The Review of Economics and Statistics, MIT Press, vol. 89(2), pages 234-246, May.
Diana Warren, 2008. "Australia's Retirement Income System:Historical Development and Effects of Recent Reforms," Melbourne Institute Working Paper Series wp2008n23, Melbourne Institute of Applied Economic and Social Research, The University of Melbourne.
Chan, Sewin & Stevens, Ann Huff, 2004. "Do changes in pension incentives affect retirement? A longitudinal study of subjective retirement expectations," Journal of Public Economics, Elsevier, vol. 88(7-8), pages 1307-1333, July.
Esther Duflo & Emmanuel Saez, 2003. "The Role of Information and Social Interactions in Retirement Plan Decisions: Evidence from a Randomized Experiment," The Quarterly Journal of Economics, Oxford University Press, vol. 118(3), pages 815-842.
Esther Duflo & Emmanuel Saez, 2002. "The Role of Information and Social Interactions in Retirement Plan Decisions: Evidence from a Randomized Experiment," NBER Working Papers 8885, National Bureau of Economic Research, Inc.
Esther Duflo & Emmanuel Saez, 2003. "The role of information and social interactions in retirement plan decisions: Evidence from a randomized experiment," Framed Field Experiments 00141, The Field Experiments Website.
Stock, James H & Wise, David A, 1990. "Pensions, the Option Value of Work, and Retirement," Econometrica, Econometric Society, vol. 58(5), pages 1151-1180, September.
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Duggan, Mark & Singleton, Perry & Song, Jae, 2007. "Aching to retire? The rise in the full retirement age and its impact on the social security disability rolls," Journal of Public Economics, Elsevier, vol. 91(7-8), pages 1327-1350, August.
Welteke, Clara & Geyer, Johannes & Haan, Peter, 2016. "Early retirement eligibility and employment behavior: evidence from a cohort based pension reform," VfS Annual Conference 2016 (Augsburg): Demographic Change 145783, Verein für Socialpolitik / German Economic Association.
Johannes Geyer & Clara Welteke, 2017. "Closing Routes to Retirement: How Do People Respond?," Discussion Papers of DIW Berlin 1653, DIW Berlin, German Institute for Economic Research.
Geyer, Johannes & Welteke, Clara, 2017. "Closing Routes to Retirement: How Do People Respond?," IZA Discussion Papers 10681, Institute of Labor Economics (IZA).
Barbara Engels & Johannes Geyer & Peter Haan, 2016. "Pension Incentives and Early Retirement," Discussion Papers of DIW Berlin 1617, DIW Berlin, German Institute for Economic Research.
Geyer, Johannes & Engels, Barbara & Haan, Peter, 2016. "Changing incentives for early retirement - Causal evidence from a cohort based pension reform," VfS Annual Conference 2016 (Augsburg): Demographic Change 145737, Verein für Socialpolitik / German Economic Association.
Philip Armour & Michael F. Lovenheim, 2016. "The Effect of Social Security Information on the Labor Supply and Savings of Older Americans," Working Papers wp361, University of Michigan, Michigan Retirement Research Center.
Hanel, Barbara & Riphahn, Regina T., 2012. "The timing of retirement — New evidence from Swiss female workers," Labour Economics, Elsevier, vol. 19(5), pages 718-728.
Barbara Hanel & Regina T. Riphahn, 2012. "The Timing of Retirement - New Evidence from Swiss Female Workers," CESifo Working Paper Series 3814, CESifo.
Barbara Hanel & Regina Riphahn, 2006. "Financial Incentives and the Timing of Retirement: Evidence from Switzerland," Working Papers 009, Bavarian Graduate Program in Economics (BGPE).
Barbara Hanel & Regina T. Riphahn, 2009. "New Evidence on Financial Incentives and the Timing of Retirement," Working Papers 076, Bavarian Graduate Program in Economics (BGPE).
Ye, Han, 2018. "The Effect of Pension Subsidies on Retirement Timing of Older Women: Evidence from a Regression Kink Design," IZA Discussion Papers 11831, Institute of Labor Economics (IZA).
Daniel Vuuren, 2014. "Flexible Retirement," Journal of Economic Surveys, Wiley Blackwell, vol. 28(3), pages 573-593, July.
Engels, Barbara & Geyer, Johannes & Haan, Peter, 2017. "Pension incentives and early retirement," Labour Economics, Elsevier, vol. 47(C), pages 216-231.
Blundell, R. & French, E. & Tetlow, G., 2016. "Retirement Incentives and Labor Supply," Handbook of the Economics of Population Aging, in: Piggott, John & Woodland, Alan (ed.), Handbook of the Economics of Population Aging, edition 1, volume 1, chapter 0, pages 457-566, Elsevier.
Staubli, Stefan & Zweimüller, Josef, 2011. "Does Raising the Retirement Age Increase Employment of Older Workers?," IZA Discussion Papers 5863, Institute of Labor Economics (IZA).
Staubli, Stefan & Zweimüller, Josef, 2011. "Does Raising the Retirement Age Increase Employment of Older Workers?," CEPR Discussion Papers 8510, C.E.P.R. Discussion Papers.
Stefan Staubli & Josef Zweimüller, 2011. "Does Raising the Retirement Age Increase Employment of Older Workers?," NRN working papers 2011-13, The Austrian Center for Labor Economics and the Analysis of the Welfare State, Johannes Kepler University Linz, Austria.
Stefan Staubli & Josef Zweimüller, 2011. "Does raising the retirement age increase employment of older workers?," ECON - Working Papers 020, Department of Economics - University of Zurich, revised May 2012.
Geyer, Johannes & Haan, Peter & Hammerschmid, Anna & Peters, Michael, 2020. "Labor Market and Distributional Effects of an Increase in the Retirement Age," Labour Economics, Elsevier, vol. 65(C).
Geyer, Johannes & Haan, Peter & Hammerschmid, Anna & Peters, Michael, 2018. "Labor Market and Distributional Effects of an Increase in the Retirement Age," IZA Discussion Papers 11618, Institute of Labor Economics (IZA).
Geyer, Johannes & Haan, Peter & Hammerschmid, Anna & Peters, Michael, 2018. "Labor Market and Distributional Effects of an Increase in the Retirement Age," Rationality and Competition Discussion Paper Series 101, CRC TRR 190 Rationality and Competition.
Johannes Geyer & Peter Haan & Anna Hammerschmid & Michael Peters, 2018. "Labor Market and Distributional Effects of an Increase in the Retirement Age," Discussion Papers of DIW Berlin 1741, DIW Berlin, German Institute for Economic Research.
Lindeboom, Maarten & Montizaan, Raymond, 2020. "Disentangling retirement and savings responses," Journal of Public Economics, Elsevier, vol. 192(C).
Maarten Lindeboom & Raymond Montizaan, 2020. "Disentangling Retirement and Savings Responses," Tinbergen Institute Discussion Papers 20-066/V, Tinbergen Institute.
Saporta-Eksten, Itay & Shurtz, Ity & Weisburd, Sarit, 2020. "Social Security, Labor Supply and Health of Older Workers: Quasi-Experimental Evidence from a Large Reform," CEPR Discussion Papers 14769, C.E.P.R. Discussion Papers.
Saporta-Eksten, Itay & Shurtz, Ity & Weisburd, Sarit, 2020. "Social Security, Labor Supply and Health of Older Workers: Quasi-Experimental Evidence from a Large Reform," IZA Discussion Papers 13263, Institute of Labor Economics (IZA).
Brown, Kristine M., 2013. "The link between pensions and retirement timing: Lessons from California teachers," Journal of Public Economics, Elsevier, vol. 98(C), pages 1-14.
Bertrand Garbinti & Simon Georges-Kot, 2019. "On the Retirement Effect of Inheritance: Heterogeneity and the Role of Risk Aversion," Working papers 707, Banque de France.
Garbinti, Bertrand & Georges-Kot, Simon, 2019. "On the retirement effect of inheritance: heterogeneity and the role of risk aversion," Working Paper Series 2222, European Central Bank.
Andries de Grip & Didier Fouarge & Raymond Montizaan, 2013. "How Sensitive are Individual Retirement Expectations to Raising the Retirement Age?," De Economist, Springer, vol. 161(3), pages 225-251, September.
de Grip, A. & Fouarge, D. & Montizaan, R.M., 2013. "How sensitive are individual retirement expectations to raising the retirement age," Research Memorandum 020, Maastricht University, Graduate School of Business and Economics (GSBE).
de Grip, Andries & Fouarge, Didier & Montizaan, Raymond, 2013. "How Sensitive Are Individual Retirement Expectations to Raising the Retirement Age?," IZA Discussion Papers 7269, Institute of Labor Economics (IZA).
de Grip, A. & Fouarge, D. & Montizaan, R.M., 2013. "How sensitive are individual retirement expectations to raising the retirement age?," ROA Research Memorandum 006, Maastricht University, Research Centre for Education and the Labour Market (ROA).
Liebman, Jeffrey B. & Luttmer, Erzo F.P. & Seif, David G., 2009. "Labor supply responses to marginal Social Security benefits: Evidence from discontinuities," Journal of Public Economics, Elsevier, vol. 93(11-12), pages 1208-1223, December.
Jeffrey B. Liebman & Erzo F.P. Luttmer & David G. Seif, 2008. "Labor Supply Responses to Marginal Social Security Benefits: Evidence from Discontinuities," NBER Working Papers 14540, National Bureau of Economic Research, Inc.
Liebman, Jeffrey & Luttmer, Erzo E. P. & Seif, David G., 2009. "Labor Supply Responses to Marginal Social Security Benefits: Evidence from Discontinuities," Working Paper Series rwp09-003, Harvard University, John F. Kennedy School of Government.
Liebman, Jeffrey B. & Luttmer, Erzo F.P. & Seif, David G., 2009. "Labor Supply Responses to Marginal Social Security Benefits: Evidence from Discontinuities," Scholarly Articles 4481678, Harvard Kennedy School of Government.
Frank van Erp & Niels Vermeer & Daniel van Vuuren, 2013. "Non-financial determinants of retirement," CPB Discussion Paper 243.rdf, CPB Netherlands Bureau for Economic Policy Analysis.
Frank Erp & Niels Vermeer & Daniel Vuuren, 2014. "Non-financial Determinants of Retirement: A Literature Review," De Economist, Springer, vol. 162(2), pages 167-191, June.
Hui Shan, 2008. "Property taxes and elderly labor supply," Finance and Economics Discussion Series 2008-51, Board of Governors of the Federal Reserve System (U.S.).
government; social security; age; Australian Age Pension reform; pension; reform; enrollment; social insurance programs; disability support; retirement income.;
I13 - Health, Education, and Welfare - - Health - - - Health Insurance, Public and Private
J11 - Labor and Demographic Economics - - Demographic Economics - - - Demographic Trends, Macroeconomic Effects, and Forecasts
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text:
Sacrificing the environment for profit
The government's new agriculture package promises farmers greater yields and profits, but some worry about the impact of increased use of fertilizer and more lenient pollution regulations
A farmer ploughs a field in Skåne, Sweden. Photo: News Oresund.
Farmers can look forward to a more profitable 2016, after the government passed 30 new agricultural regulations to renew growth in the sector.
But while food and environment minister Eva Kjer Hansen says the new regulations represent a "green boost to the environment", others argue the opposite is true and that Danish agriculture needs new and better ideas to survive in the global market.
"My hope is that farmers and banks now can start investing in the future with a good conscience," Hansen stated in a press release.
Boosting yields
Danish agriculture is under strain due, in large part, to its collective 360 billion kroner of debt, which is roughly half of the yearly state budget of Denmark. According to Landbrug og Fødevarer, 10 to 15 percent of all farms are in danger of going bankrupt.
Martin Merrild, chairman of Landbrug og Fødevarer, supports the government's new regulations which, he argues, will be a boost to the sector's competitive ability.
"The biggest change is an increase in the production and quality of Danish crops. That means more profit to farmers and more value added to the whole production, which in turn means more jobs, more export of agricultural products and fewer imports of other products such as protein enhancers from South America," says Merrild.
He acknowledges the potential environmental impact of the new regulations, such as increased nitrogen and phosphorus runoff into waterways, but argues that the issues can be overcome.
"The Minister has even suggested a number of possible solutions such as placing rocks that were once fished out of the lakes back into the water to remove some of the extra nitrogen," he says.
"I think it is important to understand that the Danish agricultural sector will still be very strongly regulated in terms of the use of nitrates – we will still have what I believe are the strictest regulations in the EU on the use of nitrates."
Lack of vision
The National Organic Society (Økologisk Landsforening) doesn't share Merrild's enthusiasm for the new regulations, however, and their singular focus on increasing production.
"The problem is that we actually should be developing new products that match the modern, international market," Chairman Per Kølster says. "Danish agriculture should be much more interested in how to create new value in goods, rather than increasing the amount of goods produced."
Kølster adds that the strategy is pointless and only presents a short-term solution.
"To be quite frank, the government's strategy can be compared to pissing in your pants to stay warm. If you just produce more goods, then prices will start dropping and then farmers will just start going bankrupt."
Food and agriculture expert and journalist Kjeld Hansen argues the last thing the Danish agriculture sector should be given is a mandate to use morefor fertiliser for the sake of increasing yields.
"Danish agriculture has been roaring forward for many, many years. We are the country in the EU with the largest percentage of land being farmed, around 60 percent. So the fact that we have the strictest rules on nitrate-emission into nature is not a point of pride – it is just necessary because we work our land so hard," Hansen explains.
Nitrogen and phosphorus fertilisers are added to crops to help their growth. But if too much is applied it risks being washed out into rivers and onwards to the sea and lakes where they promote the growth of algae. These algal blooms can consume vast amounts of oxygen, rendering waterways unable to support animal life.
Denmark has yet to live up to the environmental standards for its rivers, lakes and fjords that are outlined in the EU water framework directive from 2000. A main issue is agricultural runoff into rivers, which the former centre-left government attempted to combat by introducing 10-metre no-spray zones from waterways. This restriction has now been lifted.
"This government has the cruel intention of not fulfilling the EU directive – they obviously believe the directive goes too far," says Hansen
"The greatest crime is that we, the Danish tax payers, have been paying billions of kroner for a better water environment for the past 30 years. My research shows water quality has improved, so it's mad that this government, without hiding it, has decided to backtrack on that positive development."
Hanson also argues the new regulations will fulfil few of the promised benefits – for example increasing GDP by one billion kroner – while simultaneously creating problems for the future.
"For the farmers, it will not be the aid package it is made out to be. The farmers who are already rich will become richer, which is not at all the point," says Kjeld Hansen.
"Environmentally, the government is cheating the rest of us because we're going to pay for the help given to these farmers, while we are also the ones who will pay to clean environment when it becomes more polluted. The government is mocking us twice." M
By Joshua Hollingdale


Site perimeter limitations made it impossible to excavate for this 16-story boutique office in the heart of Bellevue prior to constructing the 7 subgrade parking levels. PERI developed a plan using its standard RCS Rail Climbing System that progressed downward as each subgrade level was completed. PERI preassembled 14' wide RCS truss tables, some as long as 78'. With the 41,000 ft², L-shaped formwork tables suspended from a steel frame at ground level, 132,600 yards of material was excavated one level at a time. The RCS formwork's configuration flexibility easily accommodated the openings needed for the pre-driven steel columns supporting the steel frame.


Graph Drawing 2004 was held on Sept. 29-Oct. 2, in City College, NY.
More than 50 full papers were presented, dealing with all aspects of drawing graphs/digraphs. These include works ranging from pure graph-theory to design of user interfaces, and geometry-related papers along with heuristics for graph embedding and much more.
As usual some talks were more interesting, some less, and some I missed. To get some impression for those of you that somehow missed this event; I want to mention here three works with a strong geometry motivation.
1. "Partitions of Complete Geometric Graphs into Plane Trees" by P. Bose, F. Hurtado, E. Rivera-Campo and D.R. Wood.
They deal with a known open problem: "Does every complete geometric graph with an even number of vertices have a partition of its edge set into plane spanning trees?"
A geometric graph is one in which the vertices are a set of points in the plane in general position (ed: amen)(that is, no three are collinear) and edges are closed segments connecting the points. Plane spanning trees contain all n vertices of original graph and no two edges intersect.
Of course, for a complete graph with n vertices we have n(n-1)/2 edges, so the partition must be into n/2 spanning trees. The answer is known to be affirmative for convex complete graphs (where convex means that the vertices are in convex position), so what left for the authors in this case is to characterize all such partitioning for convex complete graph, which is pretty nice.
The authors also show the existence of such partitioning for a broader family of graphs. And for desert they show that when the graphs are not necessarily spanning (and then we may partition into more than n/2 trees), an upper bound for the number of trees would be n-\sqrt(n/12).
The authors deal with transformations between different triangulations. They show that O(nlogn) edge-flips and point moves can transform any geometric near-triangulation on n-points to any other near-triangulation on n (different) points. Thus, they improve a previous O(n2) bound. They also suggest a more general point move that further reduces the complexity to O(n).
3. "No-three-in-line-in-3D" by A. Por and D. Wood.
Their work is based on Erdös' proof in 1951 (of a problem proposed by Dudeney in 1917) that one can place O(n) points in nxn grid with no three points are collinear.
The authors prove a smooth generalization to 3-D: One can place O(n2) point in an nxnxn grid where no three are collinear. They also consider additional generalizations more relevant to graph drawing.


text:
Home » News & Blogs » Blogs Directory » Philip Metzger
Philip Metzger
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3 Nov 2018, 21:19 UTC Mining for Rocket Fuel on the Moon
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Glen Moray Distillery sits on the banks of the River Lossie, near the town of Elgin in the heart of Speyside. There are no better surroundings in which to distil such quality single malt.
The distillery has a long history in the business, having been established in 1897. It prides itself on the long history that it captures in each bottle. The ingredients have remained the same for all those years, and it is easy to see the long history of tradition that has been past along.
This is a history that is handed down from generation to generation of distillers in Glen Moray and the brand has only had a grand total of five distillery managers. With such a small number, it is easy to see how the company connects so well with its legacy.
The most recent edition to the family is the Glen Moray Peated Edition. This expression takes the light and sweet characteristics of typical Speysides and gives them a smoky twist.
The result is divine. The Glen Moray Peated Edition is an exciting and interesting take on the Speyside malt.
It is also the perfect opportunity for those less versed in peated malts to begin their journey to loving a whiff of smoke in their dram. It is an easy-going malt that is rich and complex, but holds back from the intensity of some more heavily peated expressions.
The peat is infused into the barley as the smoke it produces is used to dry the grain before distillation starts.
This malt has a delicate lightness to it, a characteristic is shares with other Speyside malts and one that is not overthrown by the smoky qualities.
The nose offers up the smoke immediately, with added undertones of herbs and wood. The ex-bourbon casks used for maturation also give a subtle and delightful spiciness to the malt.
Spices and sweet vanilla float along the smoky current and are carried on waves of peat. The dullness of the smoke is highlighted by the contrasting tang of rhubarb and orange that come through.
On the palate the smoke is present but not overwhelmingly so. Unlike heavier peated malts, this expression allows for other flavours to rise and at times dominate.
But do not be mistaken; the peated qualities of this malt are definitely there to be savoured.
The sweet vanilla is one of these flavours. It becomes more obvious in the mouth and adds a creamy, smooth texture to the dram.
Vanilla is the perfect flavour to be placed alongside peat as it is not overbearing but is still clear-cut and stands out on its own.
The spices also become more distinct, alongside that original tang of rhubarb. Cinnamon and nutmeg pepper the tongue will bursts of fruit appear to create a perfect partnership.
And finally, the finish. The Glen Moray Peated Edition has a long lasting and satisfying finish.
This is an important aspect of many peated malts as the smoke really shows itself, and this expression does not disappoint.
The smoke is there with the typical peated flavours and intertwines exquisitely with the vanilla sweetness and cinnamon spice from the palate.
This is not an expression to be missed. For those who are well versed in peated malts, this offers up an exciting combination of Speyside lightness and peated dullness.
And for those not so well versed, the Glen Moray Peated Edition is the perfect place to begin your love affair with peat smoke.


You're the one who dreams of mist covered mountains, curling up with a book, and long, quiet talks by the fireplace. Your tastes derive from the british isles, with that touch of class that makes you unforgettable, and that's why this midriff dress from dresshead was made just for you. The soft, closely knitted fabric has a tartan pattern in deep shades of black and green. The sleeveless top has a wide, slightly scooped neckline, with a button and eye fastening at the full back. The above the knee skirt is very closely pleated for the traditional british look. Become the talk of the campus with casual wear that announces your first class tastes.


So I jumped into quilting, 3 ish years ago, and didn't do a lot of research on sewing machines.
Is the Bernina worth the extra money? Because it is a lot more!! And why is it worth it, if you think it is??
I will be choosing slowly this time, I will be test driving, asking the dealers a lot of questions, and waiting for a great deal/sale!!!
I really would like for you to weigh in, even if it is not on these models. If you are a fan of something else, let me know why and I may expand my research!!
Completed all my Churn Dash block!! 48 ready to sew together!!
And as soon as the above two projects are together, this is what is next!!! Super excited to make a project from Amy Smarts new book, with RJR Fabrics!! Jinny Beyer Batiks and Cotton Supreme Solids!! This is going to be great!!


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Automotive and Aerospace Industries
Electronic Device Industry
Medical Device and Cosmetics Industries
Chemical and Materials Industries
4K Digital Microscope - Application Examples and Solutions
Observation and Measurement of Connectors
Connectors are very common in electrical devices and come in a wide variety of types. This section introduces typical problems seen in connectors, including corrosion, oxidation, wear, foreign particle adhesion, solder defects, whiskering; all of which can cause failure.
This section also includes application examples using KEYENCE's latest 4K digital microscope to overcome common problems associated with inspecting connectors.
Diversified Connector Types and the Importance of Quality
Typical Connector Problems, Causes, and Solutions
Problems in Connector Observation and Evaluation and Application Examples of the 4K Digital Microscope
High-resolution observation of industrial connector terminals
Evaluation of connector pin shapes
Observation of deep connectors and terminals
Observation of plated crimping terminals and connector pins
Evaluation of cross-sectioned connectors
Observation of dents on plated surfaces
Quantitative evaluation of solder defects on connector electrodes
The Optimal Microscope for Observation, Measurement, and Evaluation of Connectors
The number of connectors and different types of connectors has increased rapidly in response to the expanded use of digital devices.
Common connector types include USB, RJ-45, LC/SC, XLR, RCA, and HDMI; all of which require rigorous inspection to ensure reliable performance.
In addition to connectors for consumer use, many general-purpose and special-purpose connectors are used in various industrial fields. Contact failures and defective insulation may not only lead to complaints from consumers, but may also prevent professionals from completing their tasks.
Connectors are also used in special electrical parts, such as wiring harnesses in automobiles where important components are increasingly controlled electronically. Any defects and corrosion of such connectors can lead to accidents. This is why high quality and reliability are required for connector products.
The following are typical connector problems that can cause contact failures, electrical continuity failures, or defective insulation that can impair quality and performance.
Corrosion/Oxidation
Phenomenon: This problem occurs when nickel, copper, or other metal in the base metal corrodes and separates to form a deposit on the surface.
Possible causes: High temperature, high humidity, and corrosive gases
Action: Plate the connectors with gold or apply a corrosion and oxidation inhibitor.
Phenomenon: This problem occurs when vibration or impact causes contacting parts to slide and subsequently wear down.
Possible causes: Vibration, impact, very frequent insertion and removal
Action: Use a connector with high contact pressure and wide contact surface.
Adhesion of Foreign Particles
Phenomenon: This problem occurs when foreign particles stick to the connector and obstruct electrical conduction.
Possible causes: Intrusion of gas or fine particles into the connector
Action: Increase the degree of sealing and airtightness.
Solder Defects
Phenomenon: This generic term refers to defective insulation or defective electrical continuity caused by improper application of solder.
Possible causes: Solder fractures or cracks, solder balls, solder bridges, and other defects
Action: Review the heating temperature and time for the solder.
Whiskering
Phenomenon: This problem occurs when tin in the plating crystallises in the form of whiskers and grows. Whiskering causes insulation to break down and leads to a short circuit.
Possible causes: Metal internal stress
Action: Plate the connectors with gold.
Phenomenon: This problem occurs from the gradual movement of the ions in a conductor, causing dielectric breakdown.
Possible causes: High temperature, high humidity
Action: Apply a damp-proof coating such as fluorine film.
In recent years, connectors have become smaller and more complex. Some connectors are very popular for many years, and then become obsolete nearly overnight due a single product or family of products changing their connector type. To respond to such rapid changes in demand, the connector industry relies on fast R&D cycles and quick quality control inspections.
Microscopes are typically used for connector inspections and defect analysis. Conventional microscopes, however, typically have the following problems:
The image only focuses on a part of the target due to the connectors being three dimensional.
Reflections from metal portions can interfere with observation.
Stereoscopic microscopes only provide planar visual inspection, making it difficult to identify causes of problems.
Separate measuring instruments are needed as the microscopes can only be used for observation
KEYENCE has repeatedly improved its digital microscopes over the past 20 years using feedback from our customers.
The result of this process is the VHX Series high-definition 4K Digital Microscope, which not only overcomes conventional problems, but also provides additional features and functions for improving workflow efficiency.
This section introduces the latest examples of connector observation, measurement, and analysis using the VHX Series.
Due to the limitations of the depth of field of conventional microscopes, it was only possible to bring a part of a three-dimensional target into focus at a time. At the same time, it sometimes was difficult to observe microscopic defects due to insufficient resolution.
The VHX Series 4K Digital Microscope uses an HR lens that supports 4K images, a depth of field that is approximately 20 times deeper than that of conventional microscopes, and a high-resolution and low-noise 4K CMOS.
This allows users to capture fully-focused, high-resolution images on three-dimensional connector terminals. Details that previously could not be seen can be easily observed and analysed.
High-Resolution Observation of a Connector Terminal Using the VHX Series 4K Digital Microscope
Observation and evaluation of an industrial connector terminal
Defect analysis of a crimping terminal
Contact / Inquiries
While capturing fully-focused images, the VHX Series is also capturing 3D height information that can be used to evaluate the shape of the connector pins.
The 3D image is displayed with a highly accurate height colour map, which allows users to easily see if the height of the pins is consistent.
With the VHX Series, a single unit is all that is needed to completely inspect connectors. Visual observation, 2D/3D measurements, and report creation can all be quickly performed, greatly improving workflow efficiency and reducing working hours.
3D display and measurement of connector pins using the VHX Series 4K Digital Microscope
3D display of connector pins
Profile measurement of connector pins
Some industrial connectors in a long housing or shield have pins and terminals in the recessed areas. Conventional microscopes cannot bring the entire target into focus, making it impossible to inspect the entire part.
The VHX Series 4K Digital Microscope has a 20x larger depth of field than conventional microscopes and the ability to perform depth composition to bring the entire target into focus. This improves the efficiency of the inspection procedure and eliminates blind spots.
Furthermore, using the free-angle observation system enables tilted observation from any angle without the need to reset the target on the stage. Even long connectors can be observed quickly at the optimal angle.
Observation of a connector and terminals using the depth composition of the VHX Series 4K Digital Microscope
Normal (tilted observation)
Depth composition (tilted observation)
Depth composition
Some connector pins and terminals are gold-plated to prevent defective electrical continuity and defective insulation caused by corrosion, oxidation, or whiskering. Reflective shiny plated surfaces, however, often have glare, making it difficult to observe and evaluate the surface conditions correctly.
The VHX Series 4K Digital Microscope has glare removal and ring-reflection removal functions. This enables users to clearly observe the surface conditions of plated connector pins, even when they are highly reflective and have complex geometries.
Observation of plated surfaces using the VHX Series 4K Digital Microscope
Upper: normal/lower: glare and ring-reflection removed
Left: normal/right: glare and ring-reflection removed (200x)
The VHX Series 4K Digital Microscope creates a high-resolution image of up to 50,000 x 50,000 pixels through high-speed image stitching. Just pushing the image stitching button will easily and quickly stitch together high-magnification images automatically with no misalignment.
Cross-sectioned samples with surface irregularities can be quickly stitched at low-magnification, then high-magnification can be used to inspect small details while still tracking what portion of the target is being viewed.
Cross-section observation of a connector pin using the VHX Series 4K Digital Microscope
Stitched image of a cross-section of a soldered connector pin
A connector is comprised of various materials such as metal and resin. It is difficult to determine the lighting conditions for an area that includes highly reflective portions, such as plated surfaces and copper foil tapes, because glare from such shiny surfaces interferes with the observation of dents and other defects.
The VHX Series 4K Digital Microscope has a multi-lighting function, which automatically captures the data of multiple images under omnidirectional lighting at the push of a button. Then, the image most suitable for observation can be selected from among the captured images, which significantly improves work efficiency and observation accuracy. Even dents, for which it was difficult to determine the best lighting conditions, can now be easily observed.
Furthermore, image data with different lighting conditions is automatically saved and can be recalled when needed, eliminating the need to reimage the sample at a later date.
Observation of a Dent on a Plated Surface Using the VHX Series 4K Digital Microscope
Left: image with multi-lighting/right: normal
Solder defects, such as pits and cracks, on connector electrodes can not only cause defective electrical continuity, but also increase the resistance at the defective points. The increased resistance can then cause heating and ignition at the defective points. Conventional microscopes, however, cannot quantitatively evaluate the defects due to glare from the solder.
The VHX Series 4K Digital Microscope has glare removal and ring-reflection removal functions, thus enabling observation of defective areas with clear images having no glare. The captured observation images can also be used for high-accuracy 3D shape measurement and profile measurement in a specified area. Such measurements enable quantitative measurement and evaluation of defective areas with higher efficiency.
Profile measurement of a solder defect on an electrode using the VHX Series 4K Digital Microscope
The VHX Series 4K Digital Microscope greatly differs from conventional optical microscopes in that it can clearly observe 3D shapes—such as connectors and their component parts and internal structures—and accurately measure them with ease and speed.
Unlike scanning electron microscopes, the VHX Series does not require time-consuming sample preparation to observe and analyse surfaces.
The VHX Series is also equipped with many other functions in addition to those introduced here. For additional product info or inquiries, click the buttons below.
Revolutionising Imaging, Measurement, and Analysis
4K Ultra-High
1800-396-5010(SG)/ +65-6392-1011
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Our standard size room with en-suite, study area, storage space and three quarter bed.
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Our smaller than standard sized room with en-suite, study area, storage space and three quarter bed.
They share an open plan communal kitchen and large living space with fellow residents.


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Het Belgisch kampioenschap strandvoetbal, simpel de Serie A, is een strandvoetbalcompetitie van de Belgian Beach Soccer Association (BBSA). Ze vindt (grotendeels) plaats aan de Belgische Kust en wordt gespeeld sinds 2008.

Geschiedenis
De eerste competitie vond plaats in 2008. Ze telde 4 manches, waarin twaalf ploegen voor de zege streden. Door middel van lottrekking werden ze verdeeld over drie groepen van telkens vier ploegen. Onderling speelden ze elk drie wedstrijden. Na elke manche werd er een algemene ranking opgemaakt. Na vier manches werden de beste zes teams in de ranking geselecteerd om de finalemanche te spelen. De eerste editie van het BK Beach Soccer 2008 vond plaats van 10 tot 13 juli 2008 op het strand van Knokke-Heist, Koksijde (24 tot 27 juli), Oostende (31 juli tot 3 augustus) en Bredene (7 tot 10 augustus). Op laatstgenoemde plek vond tevens de finalemanche plaats.. SKDB Braine werd landskampioen na een fel bevochten overwinning op LSA Chaudfontaine na verlengingen.

In 2009 kaapte AFCM Braine de titel en in 2010 streden ING Sint-Gillis en JL Nijvel er voor. Deze laatste ploeg kroonde zich tot Belgisch kampioen van dat jaar. Vorig jaar ten slotte werd Cartel Waterloo kampioen. Tijdens deze editie vonden de eerste twee speeldagen plaats te Tubeke (2 en 3 juli), de volgende 2 te Brussel Bad (Saincteletteplein, 16 en 17 juli), de derde 2 speeldagen te Bredene (23 en 24 juli) en de vierde 2 ten slotte te Oostende (6 en 7 augustus). De finales vonden plaats te Knokke-Heist op het Koning Albertstrand (13 en 14 augustus).

Competitie
De serie A is het strandvoetbalequivalent van de eerste klasse in het reguliere voetbal. Er treden 16 ploegen in aan die verdeeld worden over vier groeten van elks vier ploegen. Na het spelen van vier manches, plaatsen de zes besten uit de algemene rangschikking zich rechtstreeks voor de kwartfinales. De nummers zeven en acht spelen onderling een barragewedstrijd voor deelname aan de kwartfinales. De nummers negen en tien uit het eindklassement van de Liga A spelen een barragewedstrijd tegen de nummers één en twee uit de Serie B. De besten uit dit duel beslissen onderling door middel van een wedstrijd, wie zich alsnog plaatst voor de kwartfinales. De laatste twee uit de algemene rangschikking van de Serie A degraderen automatisch naar de Serie B.

Landskampioenen
 2004: Newteam Brussels
 2005: Newteam Brussels
 2006: Newteam Brussels
 2007: SKDB Braine l'Alleud
 2008: SKDB Braine l'Alleud
 2009: AFCM Braine
 2010: Joyeux Loufoques Nijvel
 2011: Cartel Waterloo
 2012: Newteam Brussels
 2013: SKDB Braine l'Alleud
 2014: LSA Chaudfontaine
 2015: Cartel Waterloo
 2016: LSA Chaudfontaine
 2017: Vamos Braine le Château
 2018: Cartel Waterloo
 2019: Newteam Brussels

Strandvoetbal in België


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Jiangshanian Stage
Home Science Earth Science, Geologic Time & Fossils Earth Sciences
https://www.britannica.com/science/Jiangshanian-Stage
International Commission on Stratigraphy - Global Standard Stratotype-Section and Point (GSSP) for the Base of the Jiangshanian Stage (Cambrian: Furongian) at Duibian, Jiangshan, Zhejiang, Southeast China
John P. Rafferty
John P. Rafferty writes about Earth processes and the environment. He serves currently as the editor of Earth and life sciences, covering climatology, geology, zoology, and other topics that relate to...
Fact-checked by
Furongian Series
Jiangshanian Stage, second of three stages of the Upper Cambrian (Furongian) Series, encompassing all rocks deposited during the Jiangshanian Age (approximately 494 million to 489.5 million years ago) of the Cambrian Period.
In 2011 the International Commission on Stratigraphy (ICS) established the Global Stratotype Section and Point (GSSP) defining the base of this unit at an outcrop in the vicinity of Duibian village near Jiangshan city, China. The GSSP is located at the lowest reach of a limestone layer located some 108 metres (354 feet) above the base of the Huayansi Formation.
The Jiangshanian Stage is divided into two fossil zones. The first is the Agnostotes orientalis Zone, named after a trilobite species that makes its first appearance in the fossil record at the base of this stage. The second, which is called the Eolotagnostus Zone, is named after another trilobite and begins approximately 8.5 metres (about 28 feet) above the level of the GSSP. The Jiangshanian Stage overlies the Paibian Stage and is overlain by Stage 10 of the Furongian Series.


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Q: How to add a specific package from an already added Library using Swift Package Manager? I'm using Xcode 14.2 and SwiftUI for making an iOS App. I have already added firebase-ios-sdk library to the project with some of the packages in it. But I now need to add another package that I previously hadn't.
Swift Package Manager won't let me access the Firebase library again since it's already been added.
In the current scenario Cocoa Pods is not an option. Is it possible through the SPM route?

A: To add additional package products, in your target's "General" tab, find the Frameworks, Libraries, and Embedded Content and click the + button

then select the additional libraries:

redpajama_set_name: RedPajamaStackExchange


Excellently crafted box for storing your treasures.
This box features intricate floral carvings on the wood surface. Styles of the floral design may vary slightly from what is seen in the photo. This piece is an elegant box to hold your tarot decks, crystals, or herbs. It will bring beauty to your home and is a wonderful gift idea as well.
Exterior measures approximately 4 x 2 1/2 x 2 1/2 x 1 1/2 inches high.
Interior measures approximately 3 1/4 inches long x 1 3/4 inches wide x 1 inch deep.


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From the Archives: Nan Goldin's Best-Known Work Is an Intimate Visual Diary of the 1980s
Public Art Fund Hires Allison Glenn, Closely Watched Curator of Breonna Taylor Exhibition, as Senior Curator
By Maximilíano Durón
Maximilíano Durón
Senior Editor, ARTnews
More Stories by Maximilíano
Allison Glenn. Photo: Jenny Risher, Courtesy Public Art Fund
Public Art Fund, the New York–based arts organization that stages various public art installations across the city, has appointed Allison Glenn, one of the country's leading curators, as senior curator. Glenn will start in her new role on May 16, replacing Daniel S. Palmer, who was named chief curator of the SCAD Museum of Art earlier this year.
"There is something about the opportunity to directly connect artists and ideas to audiences and publics," Glenn said in an interview about her appointment. "There's an immediacy that public art brings to the discourse. Oftentimes with museums and institutions, there are a lot of barriers to entry. The idea of working in public space hopefully breaks down some of those barriers to entry. For me, it brings the conversation to a more equitable discourse."
Artist Bharti Kher's Monumental 'Ancestor' Is Now Guarding Central Park
Public Art Fund's Daniel S. Palmer Named Chief Curator of SCAD Art Museum
Glenn is best known for her critically acclaimed 2021 exhibition "Promise, Witness, Remembrance" for the Speed Art Museum in Louisville, Kentucky, that brought together the work of 23 artists to honor the life of Breonna Taylor, who was from Louisville. In planning the exhibition, which came together in just a few months, Glenn worked closely with Taylor's family and assembled local and national committees to advise on the exhibition.
"I've always been the kind of person who likes a lot of feedback in the work that I'm doing," Glenn said. "That kind of collaborative engagement and close listening made the exhibition stronger. There were many voices in the room raising issues that not one decision was made in a silo. It's my hope and intention to work in that same way at Public Art Fund."
Artist Rashid Johnson recalled Glenn calling him for advice when she was planning the show; they both end discussing "activist concerns and the manifestations of the frustrations and disappointments that we were witnessing" in the country and the world at the time.
"There was an expectation to some degree of a more didactic approach to satisfy an audience at times like that, almost depressurize situation to some degree or make something that is legible and accessible and more easily digestible," he said.
"Throughout the course of our conversation, Alison was able to make clear to me that those weren't her exact goals, nor should they have been. When you're dealing with complicated issues from a curatorial position, especially in real time, you have to be willing to take certain chances, and some of those chances are not going to necessarily, you know, provide us with a significant amount of comfort."
Helping Artists Realize 'Dream Projects'
A co-curator of the forthcoming Counterpublic 2023 triennial in St. Louis, Glenn held previous curatorial appointments as senior curator and director of public art at the Contemporary Arts Museum Houston briefly last year and as associate curator at the Crystal Bridges Museum of American Art in Bentonville, Arkansas, from 2018 to 2021.
At Crystal Bridges she focused on shaping its outdoor sculpture program across the museum's 120-acre campus, curating "Color Field" and co-curating "State of the Art 2020," as well as working with artists, like Johnson, Odili Donald Odita, and Hank Willis Thomas on commissions.
In developing his commission for Crystal Bridges, a living greenhouse titled The Bruising: For Jules, The Bird, Jack and Leni (2021), Johnson said that throughout the process he found Glenn to be "a great facilitator," adding, "She's a person who an artist can can feel comfortable being honest with. Sometimes a curator's job is a challenge us, and sometimes the job is to hear us. I think that she does a good job of hearing the artists and putting us in a position to fulfill whatever it is our ideas and concerns are."
The completion of Johnson's work was delayed by the pandemic, which in turn changed the project.
"In the middle of working through it, my ideas and my sense of what it was evolved and continued to grow," he said. For him, a curator like Glenn is one who is "nimble enough and capable enough to take the journey with an artist, and that journey isn't always necessarily a straight line."
In all of her curatorial work Glenn has said her goal is to help artists realize "dream projects" in the city and to "connect them closely, with intention, to different communities."
"In working with artists, I think my best experiences in collaboration comes with a really open and honest dialogue, and that takes time," Glenn said. "It's important for me to get to know an artist and for them to get to know me because these projects are so grand in scale and there's so much at risk."
Nicholas Baume, Public Art Fund's artistic and executive director, pointed to her curatorial work at both Crystal Bridges and with Counterpublic, as showing her impact across "a number of different critical areas.
"Her work distinguishes her in the field as one the curatorial voices of her generation," Baume said.
For Baume, Glenn's work on "Promise, Witness, Remembrance," came from "a place of both deep engagement with the contemporary moment and tremendous scholarship and research and relationships with the artists."
"All of those things wrapped up together in one curatorial practice is such an extraordinary synergy for Public Art Fund," he said.
Glenn agreed, mentioning a recent conversation she had with Baume, in which he said that when viewers enter museums or galleries, they are consenting to seeing art but that isn't necessarily the case when they encounter public art.
"That took me in a whole different direction," she said. "When working in public space, there will be all of these other questions that I will need to consistently think about consent, in terms of how often people will engage with works that they see, whether or not they wanted to. It's a whole different space to understand."
Allison Glenn
Public Art Fund