text:
AFMR Awards
The AFMR Foundation presents the following awards, in keeping with the
AFMR mission to "develop and mentor tomorrow's leaders in medical research"
Congratulations to our 2018 Recipients!
Henry Christian Awards
Junior Physician-Investigator Awards
Outstanding Investigator Awards
The AFMR gives Regional Awards to top rated abstract authors, offering them the opportunity to present their findings to their peers and receive the guidance of senior scientists. These awards are given at each of the 4 AFMR regional meetings:
Western Medical Research Conference
Southern Regional Meeting
Eastern Regional Meeting
Midwest Clinical & Translational Research Meeting
Research Day Awards are $500 towards programs of AFMR Departmental members.
General Eligibility
The AFMR provides young and aspiring trainees with scholarships and travel grants to attend regional meetings offering them the opportunity to present their findings to their peers and receive the guidance of senior scientists. The AFMR also recognizes trainees with national awards, such as the Henry Christian awards, named after the founder of the organization, Dr. Henry Christian. The AFMR strives to foster the development of future generations of clinical scientists and investigators through its initiatives, while encouraging public, private, and governmental investment in the development of these individuals. The AFMR continues to support the annual Research Day Awards of institutional members across the country.


Desbiens et al identified factors associated with high symptom burdens for hospitalized patients who are seriously ill. These can help identify patients who may benefit from closer monitoring and more aggressive interventions to improve the patient's quality of life. The authors are from the Marshfield Clinic and four other American university hospitals.


text:
import HouseMeetingSearch from "./hmSearch";

export default class IntroductoryProjectSearch extends HouseMeetingSearch {
  constructor(input) {
    super(input);
    HouseMeetingSearch._alreadySelectedFilter = (settings, data, dataIndex) => {
      // Only apply the filter if we're currently searching
      if (typeof settings.oPreviousSearch.sSearch !== "undefined" &&
          settings.oPreviousSearch.sSearch !== "") {
        return !(settings.aoData[dataIndex].anCells[1]
          .querySelector('.dropdown-toggle').dataset.selected === "Passed");
      }

      return true;
    };
  }

  _handleKeyAction() {
    // Set the status of the first visible table row's selector to Passed
    let toggle = this.api.table().body().firstElementChild
      .querySelector(".dropdown-toggle");

    ["btn-success", "btn-danger", "btn-warning"]
      .forEach(classToRemove =>
        toggle.classList.remove(classToRemove));

    const caret = document.createElement('span');
    caret.classList.add('caret');
    toggle.text = "Passed ";
    toggle.appendChild(caret);
    toggle.classList.add("btn-success");
    toggle.dataset.selected = "Passed";
  }
}

redpajama_set_name: RedPajamaGithub


text:
Anton Kolig (* 1. Juli 1886 in Neutitschein, Mähren; † 17. Mai 1950 in Nötsch, Kärnten) war ein österreichischer, spätexpressionistischer Maler, Hochschullehrer und eines der vier Mitglieder des später so genannten Nötscher Kreises. Er ist der Großvater des österreichischen Malers, Bildhauers, Installations- und Objektkünstlers Cornelius Kolig.

Leben
Anton Kolig war der Sohn des Zimmer- und Kirchenmalers Ferdinand Kolig und dessen Frau Maria. Kolig studierte ab 1904 – gemeinsam mit Oskar Kokoschka – an der Kunstgewerbeschule in Wien. 1907 wechselte er an die dortige Akademie der bildenden Künste, wo er bei Heinrich Lefler, Rudolf Bacher und Alois Delug studierte. Hier lernte er Sebastian Isepp und Franz Wiegele kennen, sowie in den folgenden Jahren durch gemeinsame Aufenthalte deren Heimatort Nötsch im Gailtal. 1912 heiratete Anton Kolig Katharina Wiegele, eine Schwester Franz Wiegeles.

Mit Oskar Kokoschka, Anton Faistauer, Sebastian Isepp, und Franz Wiegele trat er 1911 bei der Ausstellung des Hagenbunds erstmals mit seinen Werken an die Öffentlichkeit. Auf Empfehlung von Gustav Klimt und Carl Moll erhielten Kolig und Wiegele 1912 ein Stipendium für einen Aufenthalt in Paris, wo Kolig sich zunächst im Louvre mit der modernen Malerei auseinandersetzte.

1914 in Marseille vom Ausbruch des Ersten Weltkriegs überrascht, musste er überstürzt aus Frankreich fliehen, wobei er seine Bilder zurückließ. Über Italien erreichte er Österreich und hielt sich dort in Nötsch auf. Im April 1916 rückte Kolig als Landsturmmann zur Hilfsdienstleistung in das Notreservespital in Klagenfurt ein, arbeitete ab Juli an der Südfront, wurde jedoch 1917 zum Ersatzbataillon des Schützenregiments 31 nach Teschen eingezogen. Erst per 4. September 1917 gelang die Aufnahme als Kriegsmaler in die Kunstgruppe des k.u.k. Kriegspressequartiers. Dies geschah auf Betreiben des Dichters Richard von Schaukal, auch Ministerialrat im Ministerium für öffentliche Arbeiten, der Kolig "für das bedeutendste Talent unter den jungen österreichischen Malern" hielt. Kolig arbeitete an der Kärntner Front bei der 10. Armee im Flitscher Becken. Ende 1917 erteilte ihm der Kärntner Landeshauptmann Leopold Freiherr von Aichelburg-Labia den Auftrag zu einem als Geschenk für Kaiser Karl I. bestimmten Flügelaltar der Kärntner Schützen. 1918 erhielt er mehrmalige Heimarbeitsbefehle zur Weiterführung dieses Werkes, welche jedoch durch den Zusammenbruch der Monarchie beendet wurde. Zuletzt konnte Kolig vier Flügel des in der Art der gotischen Altäre gestalteten Werks vollenden. In den Standeslisten des Kriegspressequartiers ist Kolig bis 13. Februar 1918 vermerkt.

Von den Werken, die Kolig als Kriegsmaler anfertigte, erregten besonders seine Porträts von Generälen und Gefangenen Aufsehen, unter anderem 1918 bei einer gemeinsamen Ausstellung mit Egon Schiele in Klagenfurt. Für das Porträt des Generals Gottfried Seibt wurde er 1928 in Düsseldorf mit einer Goldmedaille und 1936 mit dem österreichischen Staatspreis ausgezeichnet.

Auch an der Gestaltung am neuen Festspielhaus in Salzburg war er 1926/27 mit Gobelins und einem Mosaik in der Eingangshalle beteiligt. Als er 1928 gleich zwei Angebote für Professuren in Prag und in Stuttgart erhielt, entschied er sich für die Württembergische Akademie in Stuttgart, wo er als Leiter der Malklasse eine Reihe von später bedeutenden Künstlern ausbildete. Daneben wurde sein Werk auch international beachtet und auf zahlreichen Ausstellungen gezeigt. Kolig war Mitglied der Prager Secession.

Nachdem Kolig 1929 den Auftrag erhielt, den kleinen Landtagssaal im Klagenfurter Landhaus mit Fresken auszumalen, und diesen gemeinsam mit seinen Schülern 1930 ausgeführt hatte, forderten deutschnationale Abgeordnete bei einer Sitzung Kärntner Landtag am 25. März 1931 die Entfernung der Fresken, was zunächst verhindert werden konnte. 1935 wurden die Fresken allerdings verhängt, und 1938, nach dem "Anschluss" Österreichs, wurden sie von den Nationalsozialisten ebenso vernichtet wie das Mosaik im Salzburger Festspielhaus. Auch weitere Werke wurden aus Galerien entfernt, Hitler persönlich soll sich gegen die spätexpressionistische Kunst Koligs ausgesprochen haben. 1937 wurden in der zentralen Aktion "Entartete Kunst" aus der Württembergischen Staatsgalerie Stuttgart sein Gemälde Blauer Jüngling (Öl auf Holz, 144 × 73 cm, 1917) beschlagnahmt und vernichtet. Allerdings war Kolig 1943 in der Wiener Ausstellung Junge Kunst im Deutschen Reich vertreten.

Kolig wurde 1943 als Professor in Stuttgart zwangspensioniert und kehrte schließlich nach Nötsch zurück. Am 17. Dezember 1944 wurde er mit seiner Familie bei einem Bombenangriff verschüttet und schwer verletzt. Ein großer Teil seines Werks wurde hierbei vernichtet.

Ehrungen
 Österreichischer Staatspreis für Malerei, 1925, 1926
 Große goldene Staatsmedaille, 1936
 Preis der Stadt Wien für Malerei und Graphik, 1947
 Benennung der Anton-Kolig-Gasse in Wien-Floridsdorf, 1959
 Benennung eines Weges in der Dobrova (Gemeinde Villach) bei Serai, 1978

Werke (Auszug)
Anton Kolig gilt als der bedeutendste Vertreter des österreichischen Farbexpressionismus. Er schuf insgesamt ca. 3000 Zeichnungen, 62 farbige Arbeiten auf Papier und 390 Ölgemälde, von denen aber etliche verschollen sind. Auf Grund seiner homoerotischen Neigung befasste er sich häufig mit dem männlichen Akt, schuf aber auch Porträts und Stillleben. Viele seiner Werke spiegeln auch Koligs Religiosität. Werke des Malers befinden sich vor allem in der Österreichischen Galerie, im Heeresgeschichtlichen Museum und im Leopold Museum in Wien, in der Sammlung Essl in Klosterneuburg und in der Kärntner Landesgalerie.

 Stille Frau – Bildnis der Mutter (Wien, Leopold Museum, Inv. Nr. 2019), 1909, Öl auf Leinwand, 168,5 × 56 cm
 Stillleben mit Äpfeln und Weintrauben (Wien, Leopold Museum, Inv. Nr. 507), 1912, Öl auf Leinwand
 Tänzerin (Privatbesitz), 1913, Öl auf Leinwand, 156 × 69,5 cm
 Stillleben mit Schildkröte (Wien, Leopold Museum, Inv. Nr. 194), 1913, Öl auf Leinwand
 Bertha Zuckerkandl, geb. Szeps (Wien Museum, Inv. Nr. 77.879), 1915, Öl auf Leinwand, 150 × 81 cm
 Hauptmann Boleslavski (Wien, Leopold Museum, Inv. Nr. 171), 1916, Öl auf Leinwand
 Winterlandschaft bei Sonnenuntergang (Wien, Leopold Museum, Inv. Nr. 183), 1917, Öl auf Karton
 Porträt eines Sturmsoldaten (Wien, Heeresgeschichtliches Museum), 1918, Öl auf Leinwand
 Sitzender Jünglingsakt – Am Morgen (Wien, Leopold Museum, Inv. Nr. 406), 1919, Öl auf Leinwand, 152 × 93,1 cm
 Liegender Männerakt in Grau (Wien, Leopold Museum, Inv. Nr. 352), 1919, Öl auf Leinwand
 Die Handarbeitslehrerin (Wien, Leopold Museum, Inv. Nr. 353), 1920, Öl auf Leinwand
 Sehnsucht (Wien, Leopold Museum, Inv. Nr. 200), 1922, Öl auf Leinwand
 Aufschwebender Genius – Skizze zum Deckengemälde der Feuerhalle Wien (Wien, Leopold Museum, Inv. Nr. 233), 1924, Öl auf Leinwand
 Fresken für das Krematorium in Wien, 1925
 Spiegelakt (Wien, Leopold Museum, Inv. Nr. 198), 1926, Öl auf Leinwand
 Selbstbildnis in blauer Jacke (Wien, Leopold Museum, Inv. Nr. 199), 1926, Öl auf Leinwand
 Fresken im Klagenfurter Landhaus, 1930
 Das Pelzchen – Des Künstlers Tochter Antoinette (Wien, Leopold Museum, Inv. Nr. 351), 1930, Öl auf Leinwand, 125 × 78,2 cm
 Das Vergehen (Linz, Lentos Kunstmuseum), 1946, Öl auf Leinwand, 76 × 94 cm
 Zivilisation III (Wien, Leopold Museum, Inv. Nr. 185), 1947, Öl auf Karton
 Die Sonnensucher (Wien, Leopold Museum, Inv. Nr. 193), 1947, Öl auf Leinwand
 Die vier Evangelisten (Wien, Leopold Museum, Inv. Nr. 355), 1948, Öl auf Hartfaserplatte
 Männlicher Akt mit Schlange (Wien, Sammlung der Österreichischen Nationalbank), 1949, Öl auf Hartfaser, 84,6 × 57 cm
 Brustbild eines Knaben mit Violine (Wien, Sammlung der Österreichischen Nationalbank), um 1949, Öl auf Karton, 53 × 43,5 cm
 Liegender Männerakt auf Leinwand in Öl – Stuttgart, Privater Besitz, um 1930
 Porträt von Dr. Ensinger auf Leinwand in Öl – Stuttgart, Privater Besitz, um 1930

Literatur

 Richard Milesi: Anton Kolig. Verlag des Landesmuseums für Kärnten, Klagenfurt 1954.
 Liselotte Popelka: Vom Hurra zum Leichenfeld. Gemälde aus der Kriegsbildersammlung 1914–1918. Wien 1981.
 Erwin Hirtenfelder: "Die Koligsche Kunst ist geistiger Bolschewismus": ein Bildersturm im "Dritten Reich": die Fresken Anton Koligs und seiner Stuttgarter Akademieklasse im Landhaus zu Klagenfurt. Mit einem Vorwort von Wolfgang Kermer. Ed. Cantz, Ostfildern-Ruit 2001 (= Wolfgang Kermer (Hrsg.): Beiträge zur Geschichte der Staatlichen Akademie der Bildenden Künste Stuttgart. Band 10). ISBN 3-7757-9097-7.
 Tobias G. Natter: "Wunschfenster einer unfrohen Seele. Zu den Männerakten von Anton Kolig". In: Wolfgang Förster, Tobias G. Natter und Ines Rieder (Hrsg.): Der andere Blick. Lesbischwules Leben in Österreich. Eine Kulturgeschichte, Wien 2001, ISBN 3-9501466-0-1, S. 47–62.
 Otmar Rychlik (Hrsg.): Anton Kolig 1886-1950. Das malerische Werk. Brandstätter, Wien 2001.
 Otmar Rychlik (Hrsg.): Anton Kolig – männliche Aktzeichnungen. Cantz, Ostfildern 2005.
 Wilhelm Baum (Hrsg.): Kunstwerke sind Stationen auf dem Passionsweg zu einem verlorenen Paradies. Briefe und Dokumente zum Nötscher Kreis. 2. Auflage. Kitab-Verlag, Klagenfurt 2004, ISBN 3-902005-23-8.
 Werner Koroschitz: Bericht zu den (nationalsozialistisch) belasteten Straßennamen in Villach, Villach 2019, S. 39–40 (online).
 Ulrich Röthke: Schwäbischer Adam und schlafender Apoll. Anton Koligs Wirken in Stuttgart. In: Carla Heussler, Christoph Wagner (Hrsg.): Stuttgarter Kunstgeschichten, von den schwäbischen Impressionisten bis zur Stuttgarter Avantgarde. Schnell & Steiner, Regensburg 2022 (= Regensburger Studien zur Kunstgeschichte. Band 21), ISBN 978-3-7954-2888-4, S. 362–371.

Weblinks

 http://alfredflechtheim.com/kuenstler/anton-kolig/
 https://www.lostart.de/de/suche?term=Kolig&filter[type][0]=Objektdaten

 Österreichische Galerie im Belvedere
 "Akt", 1Blick. Kunst im Vorhaus, Mai 2000 in Hallein

Einzelnachweise

Maler des Expressionismus
Aktmaler
Kirchenmaler
Maler (Österreich)
Hochschullehrer (Staatliche Akademie der Bildenden Künste Stuttgart)
Künstler im Beschlagnahmeinventar "Entartete Kunst"
Person (Kärnten)
Person (Österreich-Ungarn)
Österreicher
Homosexualität in der Kunst
Geboren 1886
Gestorben 1950
Mann

redpajama_set_name: RedPajamaWikipedia


Hi! I am so excited to show you all my new chic waffle knit top, but first we need to briefly catch up…yes?!
As some of you may know, I moved to Scottsdale, AZ at the end of October with my boyfriend Justin. I will be living here for the Winter months and will return to Columbus in May or so. I LOVE Scottsdale so I was super excited to learn that Justin was offered a job at a private golf course out here. We are loving it here so far and seriously can't get over the beautiful views we are surrounded by each and every day! We are also lucky and thankful to have my dad and my younger brother here, whom we spent Thanksgiving with. It helps that they have been living here for a couple years to show us around a little! I am definitely missing my girlfriends and my family back in Ohio but will hopefully be making it home for Christmas which is just around the corner, yay! I want to talk about my move in a little more detail, including our road trip (WHICH WAS SO LONG but fun :)) and just show you all some pictures I have taken since arriving but I will dedicate a separate post for that because it could get a little long. I'm moving a little backwards.. I know. oops!
Back to my new top from Pom Pom Fashion because I am obsessed with it. I am all about comfy, cute tops that can be dressed up or down and this one is SO soft. I decided to pair this top with my new over the knee boots, they are gawwgggeous! I have been searching for a pointy toe pair for a while now and it was love at first sight with these. I found them at DSW on black Friday but didn't actually get a black Friday deal on them. I luckily had a coupon in my email for $20 off of $100 so I just used that, which was super helpful. Before putting the boots on to shoot I had on my black and white Adidas Gazelle's and they looked just as cute with the waffle knit top. It was a little chilly out yesterday so I layered with my leather jacket. I recommend this look for a date night, happy hour, or anything really. Like I said, it can be dressed up or down depending on the shoes and accessories. If you are like me, I love to be comfortable but feel confident in what I am wearing. This look achieved just that. The jeans, bold lip and choker added an edgy flare, which is my favorite thing to do to an outfit. Love my top as much as I do? Use the code "Pompom15" at checkout on PomPomFashion.com to get 15% off your order. I am linking all of my outfit details below in case you want to recreate my look. Let me know what you all think in the comment section and any ideas for upcoming blog post. Enjoy!
OTK Boots: DSW, brand is ALDO. EXACT SAME HERE!
The waffle knit top was the only item sponsored in this post. Thank you Pom Pom Fashion!
Very cute! I love how you styled it with the jeans and boots, too!


text:
Pfizer, Merck KGaA nab NICE's favor for Bavencio in Merkel cell carcinoma
by Carly Helfand |
Mar 2, 2018 12:07pm
Analysts have questioned whether Pfizer would stick with its Bavencio development program. (Pfizer)
After two recent trial flops, Pfizer and Merck KGaA are getting some good news around immuno-oncology contender Bavencio.
England's National Institute for Health and Care Excellence (NICE) has issued a final verdict on reimbursement for the drug in its first indication, Merkel cell carcinoma, and it's a positive one. The cost watchdog has recommended the drug for routine use in England, Wales and Northern Ireland for adults who have already been through one or more lines of chemo.
Patients in England who haven't yet undergone chemo will have a shot at receiving the drug, too, thanks to the Cancer Drugs Fund (CDF). Of course, that's provided the drugmakers provide an already-agreed-upon discount, known as a patient-access scheme.
The way NICE sees it, as a second-line therapy, Bavencio (avelumab) is cost-effective for the gatekeeper, which considers its price to be "within the range NICE normally considers acceptable for end-of-life treatments." And it "has the potential to be cost-effective as a first-line treatment," too, the body said in its final appraisal document, but it needs more data before it can move it off the CDF.
RELATED: Pfizer's Bavencio flops third key study, this time in lung cancer. Can crossover really explain it?
It's a boost for Pfizer and Merck, which lately have struck out when it comes to widening Bavencio's reach. The medication, already approved for bladder cancer in addition to MCC, came up short in a stomach cancer trial in November.
And while industry watchers may have given the companies a pass on that one—they pitted Bavencio against chemo, while rivals Merck and Bristol-Myers Squibb, who have both succeeded in the disease area, put their checkpoint drugs up against placebo—they couldn't do the same last month, when Bavencio slipped in a second-line lung cancer trial.
"The news today on Pfizer's 2L lung failure marks the first time we can start to say that PFE may have underperformed," Evercore ISI analyst Umer Raffat wrote at the time.
RELATED: Does Pfizer really want Bristol-Myers? Likely, says one analyst. What's it waiting for?
Meanwhile, analysts have been watching Pfizer closely to see if it would stay with Merck and Bavencio or chase a big deal to buy one of its competitors. Last month, though, Pfizer's immuno-oncology head said in a statement that it would "continue to pursue a broad program with avelumab," Bernstein's Tim Anderson pointed out in a note to clients.
reimbursement Merkel cell carcinoma checkpoint inhibitors PD-1/L1 NICE Bavencio Pfizer Merck KGaA
Carly Helfand

redpajama_set_name: RedPajamaCommonCrawl


text:
The Rodes Baronetcy, of Barlborough in the County of Derby, was a title in the Baronetage of England. It was created on 14 August 1641 for Francis Rodes, of Barlborough Hall, near Chesterfield, Derbyshire. The early family of Rodes was seated in Nottinghamshire. A William Rodes acquired an estate in Derbyshire by marriage. Sir Francis Rodes built Barlborough Hall in 1583–4. The first Baronet was his grandson. The title became extinct on the death of the fourth Baronet in 1743, when the estates passed to his sister's heirs, the Heathcotes and Heathcote-Rodes families.

Rodes baronets, of Barlborough (1641)
Sir Francis Rodes, 1st Baronet (1595–1646)
Sir Francis Rodes, 2nd Baronet (died 1651)
Sir Francis Rodes, 3rd Baronet (1648–1675), High Sheriff of Nottinghamshire in 1670
Sir John Rodes, 4th Baronet (1670–1743)

References

 (at archive.org)

Further reading

Extinct baronetcies in the Baronetage of England


text:
I am very pleased to (re)publish my talk from Improving Reality 2013, which I originally published at Futurismic not long after giving it. Below is the video version… followed by my slides and script, because, well, I'm a writer, and not a natural orator. (I need to work on that, I think.)
IR was a day of fascinating talks, and I heartily recommend all of them; they can be found on the Lighthouse Arts YouTube channel. Particular favourites include Keller Easterling (who was the very definition of "hard act to follow"), Justin Pickard (favoured guest of this parish in years past, and getting sharper and more dangerous by the month) and Georgina Voss (who'll make you think about choose-your-own adventure books and venture capitalism in a totally new way).
So, on with the show…
[Slides and script below the cut…]
**greetings, ad-lib'd**
In Douglas Adams's Life, the Universe and Everything, Arthur Dent and Ford Prefect are watching a test match at Lords when a spaceship (built, as I recall, to resemble a small Italian bistro inexplicably turned on its side) lands on the ground in the midst of an over. Not a person notices it but Ford and Arthur, those seasoned and cynical galactic hitchhikers.
That's because the spaceship is protected by something called a Someone Else's Problem Field, whose inventor realised that while making something invisible is incredibly difficult, making something appear to be someone else's problem is very, very easy.
Think of it as the flipside of the dubious "nudge psychology" that Mister Cameron's policy machine is powered by, if you like.
The Someone Else's Problem Field around infrastructure is, ironically enough, a measure of its ubiquity and success. You don't think about it because you don't need to; it just works, and when it doesn't, there's a phone number you can not bother calling, because they'll only put you on hold anyway, and by the time you get through it'll probably have fixed itself, so why bother? You pay for these things to work, and – most of the time – they do. You pay for them to be Someone Else's Problem.
Being reminded of infrastructure is rarely pleasant. It's no fun to turn your tap and have nothing come out. It's a different sort of not-fun when you discover that a wind-farm, town bypass or high-speed train line is scheduled to materialise near your house, or when protestors camp out on your driveway to fight a fracking company. Infrastructure is meant to make life easier, not harder. The better it gets at the former, the more painful are the moments when it does the latter.
The golden age of British infrastructure was surely the Victorian era, thanks to a combination of ambition, new technological developments, and an exploitable underclass workforce. In those days, infrastructure primarily benefitted the middle and upper classes; if you were working class, you were likely one of infrastructure's many unsung human components, and new infrastructure was far more likely to spoil your immediate environment than improve it. To the middle classes, though, infrastructure – especially the railways – was progress incarnate, a living force in the world. Victorian painting and literature is full of infrastructure, sometimes as hero, sometimes as villain, depending on the target audience: majestic bridges in oil on canvas for the gallery-goer, train-wreck penny dreadfuls for the proles.
It was all new, and people wondered what it meant.
Speaking earlier this year at Next13, Anab Jain of Superflux, who were kind enough to publish my original essay on infrastructure fiction, described design fiction as follows:
"These projects bypass the established narratives about the present and future that create the hypnosis of normality, and in doing so allow for an emotional connection with the raw weirdness of our times, opening up an array of possibilities."
It's the best and most concise description I've found of what design fiction does. How design fiction does what it does, on the other hand, is a much more open question. Its techniques emerge from the mediums it makes use of – so perhaps we might wink at McLuhan's ghost, and say that the medium is the method. Design fiction can be written, it can be still images or mock-up packshots, a fake promo spot or mock documentary video, or even performance theatre or live-action roleplaying. I don't know if there are any design fiction games, but I wouldn't be at all surprised if there were.
The main requirement, it seems to me, is that in order to be effective, design fictions must believe in themselves – though there's some tricky caveats here that I'll return to later on. But for now the point is that simply putting together a project proposal for some wacky new idea isn't enough. If you present a design fiction as a proposal, you give the audience permission to say "but that'll never make it to market!", which ends the conversation instantly. (You might as well try feeding social metaphors to hard science fiction fans.)
So you don't propose a solution to the problem. No; in a design fiction, you imagine the problem to already be solved – and then you ask what that solution has to say about the problem that you hadn't considered beforehand, and what it tells you about the future in which it actually gets built.
Asking what an object or structure means is an intrinsic part of what designers, architects and artists do all the time. It's not natural for engineers, though. Engineers are practical people; they build things to spec, they keep the lights on and the trains running. To be clear, this isn't to claim that engineers have no imagination – far from it. Engineers have plenty of imagination, but it is directed very differently. Engineers solve problems; they imagine "how". The artist, by contrast, imagines "why"; the engineer's problem is the end product of the artistic process.
Before we can ask what infrastructure means, however, we need to first determine what infrastructure is; we need to define it, sketch out the field of enquiry.
The Institute of Civil Engineers defines infrastructure as "the physical assets underpinning [the UK's] networks for transport, energy generation and distribution, electronic communications, solid waste management, water distribution and wastewater treatment".
Exciting stuff, right? But this purely materialistic conception of infrastucture, so useful for an engineer, gets the rest of us everywhere and nowhere at once, because it hides the social impact of infrastructure behind functional generalities. To reveal that social impact, we have to destroy two assumptions.
The designer usually takes infrastructure as a given, if they think of it at all; it's just a set of standards and protocols upon which they can rely to support certain functionalities in their designs. Infrastructure is the oxygen of the design profession, if you like; always invisibly ready to breathe life and capabilities into their creations.
Assumption A isn't so much wrong as it is incomplete; it assumes a simplex Y-follows-X causality, "if infrastructure, then technology", but the reality is more complex. Of course infrastructure enables technology… but technology has at the same time been a major driving force in the development, expansion, enhancement and ubiquity of infrastructure. Infrastructure and technology have always been locked in a symbiotic coevolution, to the extent that the division implied by the separate terms is largely illusory; infrastructure and technology are two sides of the same coin, if you like, but infrastructure is the ugly, boring and pragmatic side, while technology is flashy, exciting and transformative.
Consider Edison, arguably most famous for the invention of the incandescent lightbulb; we tend to forget that Edison and the other electrical inventors of the time were struggling to crack the lightbulb problem in order that they had a product which might convince people that they should get connected to the early electrical supply services. The lightbulb concretised the potential of electricty to do useful work in the home, turning a what had up to then been an abstract and rather frightening scientific discovery into a household utility – and the rest is, quite literally, history.
Assumption B is, as far as I can tell, a sort of late-stage mutation of Marx's commodity fetish, in that it manifests as the erroneous notion that the value and utility of a technological object is located entirely within the object itself.
Take this power-drill, here; fairly standard tool of the modern household. If I was to ask you what the power-drill can do, you might say that it can drill holes in your walls, right? Well, no – it is the drill-bit that drills the holes. The motor unit of the power drill simply enables you to use the drill-bit to make more holes more quickly before getting tired, and in a greater variety of materials than you could make using elbow grease alone. The drill-bit is the tool; the power-drill is a function-specific extension of the infrastructure, an interface between the drill-bit and the abstract world of harnessed energy.
When you connect a device to an infrastructure, the latter is effectively subsumed by the former. To use a literary term, it's a sort of metonymy: the power and potential that we imply when we speak of a power drill is actually the power and potential of the electricity grid, an electrical spirit that animates the drill's unliving body. The power-drill is neither tool nor infrastructure; it is, quite literally, something in between.
If you don't believe me, go unplug that power drill from the wall, take it somewhere there are no wall sockets, or even just the wrong sort of sockets. Or take a power-shower to some place without a water distribution mains, or your smartphone to somewhere where there's no signal coverage.
Ain't much use to you now, is it?
This constructive disillusionment is what infrastructure fiction should aim to achieve; it must problematise not just a discrete technology or service, but the entire infrastructural stack on which the technology or service is dependent. Infrastructure fiction must collapse the Someone Else's Problem Field, finger-snap you out of the hypnosis of normality. It must reveal the hidden metasystem that underpins everything you do.
It's all well and good to shatter illusions, but infrastructure fiction should also present alternatives, substitute visions. Bruce Sterling talks a lot about bad forms of design fiction, and makes the point that design fiction shouldn't be hoaxy, deceitful or packed with F.U.D. – fear, uncertainty and doubt. As I said earlier, a design fiction must believe in itself to do its work – but it must simultaneously signal its fictionality, however subtly.
This is, not at all incidentally, the central challenge to writing good science fiction, and the reason why airport technothrillers can feel less believable than out-and-out science fiction; the latter is almost always winking at the audience, while the former tries to pass for realism, and thus falls into fiction's equivalent of the uncanny valley.
This isn't just a matter of literary aesthetics, though. Sterling is seeking an ethical dimension to design fiction, because he knows at first hand the power of the techniques he's discussing, and he's cynical enough to know that powerful techniques work just as well in bad hands as good ones. The term "diegetic prototype" was coined by David Kirby in a paper called "The Future Is Now: Diegetic Prototypes and the Role of Popular Films in Generating Real-world Technological Development." Kirby's paper is a discussion of the way that technologists and designers are drafted into sci-fi film production teams so as to get the tech in the movie's storyworld looking convincing. But we've now reached a point where films are becoming a vehicle through which these designers can inject their design ideas into the cultural soup, acting as what Kirby calls "pre-product placements" – a particularly apposite term, given the touchscreen interfaces of Minority Report are a prime example.
My colleague Scott Smith talks a lot about "flatpack futures" – especially those grotesquely aseptic lifestyle technology ads that are suddenly everywhere, showing clearly how the purchase of a certain branded piece of hardware will situate you in a blandly contemporary and impossibly unsmudged ideal of the middle-class Western lifestyle. There's a crude sort of diegetic prototyping at work here, too. The difference between this stuff and "proper" design fiction is that flatpack futures exchange the critique of technology for the uncritical advocacy of technology. The problem is that to Josephine Public, the difference between foresight and marketing may not be apparent, especially in a medium that relies on the internal coherence of false realities to do its work.
Indeed, one might make the argument that transhumanism is a great example of a very sophisticated and collaborative shared-world design fiction veneer over a cynical me-first libertarian ideology, which in turn obscures an elaborate Ponzi scheme based on cryogenic life insurance policies and unfalsifiable proposals for AI research grants… but as I don't have a lawyer on retainer, I'd not want to suggest such a thing in public.
However, there's a value even to flatpack futures, in that the biggest ones get a lot of public attention, and hence a lot of public critique. It was very generous of Elon Musk to come out with a perfect example of a flatpack-future infrastructure fiction so shortly after I coined the term – thanks Elon, if you're watching; the cheque's in the mail, yeah?
But really, it's a great example of design fiction done badly: for instance, the locations the proposal joins together make it very obvious that Musk's ideal customer is himself – in stark contrast to the PayPal user interface, whose ideal customer is presumably a human being of infinite pateince. But screw demography and market research, this isn't some pinko cryptosocialist proposal for improving the general human condition; this is serious Silicon Valley technoshit, blithely presented as a shovel-ready project just waiting for the right about of venture capital to light the blue touchpaper – so stand well back, ladies and gentlemen!
It's also wrong in many, many ways; there weren't quite so many robust critiques of Hyperloop as there were breathless fawning reblogs of the pretty pictures, but there were quite a few, taking the idea to task from every angle: geography, economics, materials, engineering, health and safety, so on and so forth.
I hope it's clear now, if it wasn't before, that infrastructure fiction is less a methodology than a manifesto, a plea for a paradigm shift in how we think about our increasingly technology-saturated world. How exactly you take it on board, what exactly you do with it, will depend on who you are and what it is you do.
When I talk to my engineer colleagues about infrastructure fiction, I tend to pitch it as another sort of modelling, albeit almost purely qualitative and conceptual by comparison to the models they use most often. The tricky bit to get across to them is that in a design fiction, failure is not only instructive but desirable; engineers rarely waste time thinking about something which they already know can't be built. This is the good thing about Musk's Hyperloop: it got thousands of people thinking imaginitively and critically about infrastructure, talking about what it means, about what it should do, and how and for whom it should do it.
Try having that conversation around HS2, by contrast, and all anyone cares about is how much it's going to cost, and whose back garden it's going to run through. HS2 is too real and political a problem, too rooted in the here and now, for us to get to grips with the deeper questions. By contrast, the imaginative and speculative bits of Hyperloop serve to dispel Anab's hypnosis of normality and open up the possibilities and pitfalls for discussion – and if that's all it achieves, I still think it's done good work. (I rather doubt Mister Musk would agree with me on that, but there you go.)
For artists, writers, designers and theorists and thinkers, however, infrastructure fiction is best described as a call for you to radically change the way you understand the role of technology in your lives, to look afresh at the relationships between the things you do and the systems that make it possible to do them.
I'm not asking you to "think outside the box", here. On the contrary, I want you to think exactly about the box. Infrastructure fiction isn't about transcending constraints, it is about coming to terms with our constraints as a civilisation, about understanding their nature, and internalising the systemic limits that come from living in a sealed ecosystem with finite resources.
Nor do I want you to, as one response to my essay suggested, "write more stories about bridges" – though if you've got a story to tell about bridges, I think you should go ahead and tell it. The clue's in the name: infrastructure fiction is obviously interested in infrastructure, but it's fiction, and fiction is for and about people. So by all means, write a story about a bridge, but make the bridge more than a prop, more than a setting or a symbol; make it a character in its own right, an agent in the network of society of which it is a structural and functional component.
But write about people, too, because they're most reliably invisible part of any infrastructural system: not just the people who use it, but the people who maintain and operate it, the people who protest against it, the people who blow it up or steal bits of it, even the people who live among its ruins. Write about the relationship that people have with the bridge, and that the bridge has with the people. Remember that neither makes sense in the absence of the other.
Think about the box. Think about constraints.
Failure is instructive. Thank you.


Many fishermen are asking about the status of various boat ramps around the Galveston Bay system. Based on surveys completed Tuesday, September 23, 2008 by TPWD Coastal Fisheries Division staff the following ramps are useable/open. Please be advised that no attempt has been made yet to determine the depths in these ramps (siltation) or the presences of submerged debris. USE CAUTION WHEN LAUNCHING. Note also that Galveston Island, Bolivar, and Surfside were not accessible to the general public on this date so these sites are not included on this list.
We expect more ramps to open as debris is cleaned from the sites and power is restored to areas. Debris fields are extensive in some areas and there are submerged obstacles around the bay. Please operate your boats at safe speeds when traveling around Galveston Bay (includes West Bay, Christmas Bay, Chocolate Bay, etc., etc.).
Thanks Lance, good to hear from you!
The one ramp at Bridge Bait was barricaded yesterday and not available.
Sylvan Beach was closed until further notice by the city - hadn't heard that it had reopened.
The ramp at what was formerly Fat Boy's Bait Camp is useable.
There are several useable ramps on Galveston Island and Follett's Island (Christmas Bay) but the areas have not opened to the general public. The road is gone for several miles on Follettt's island and it may be some time before public access is allowed.
Are you able to fish West Bay in Galveston yet? Anyone been out around Green's or Carancuha Lake and seen how things are?
As of yesterday, the Sylvan Beach ramp is open.
Is the ramp at Tiki open?


text:
Coach K on verge of 1,000th career win
Joedy McCreary
DURHAM, N.C. — Mike Krzyzewski is on the verge of yet another coaching milestone.
The Duke coach will become the first men's coach in Division I history with 1,000 wins on Sunday if his fifth-ranked Blue Devils beat St. John's.
That milestone could come in the same arena where three seasons ago he became the winningest men's coach in college basketball's top tier.
A win at Madison Square Garden would bring his record to 1,000-308 during a career that spans four decades and includes four NCAA tournament titles and 11 Final Fours.
He says the wins that matter most are the ones that bring titles, not milestones, and he calls the forthcoming accomplishment "a heck of a thing … but it's not a championship."
"In order to win that many games, it's taken 40 years — that's a long time, and so you don't win like that by being in the moment of a single-game accomplishment," he said. "You do it in the accomplishment of what you're trying to do for an entire season."
For Krzyzewski, it's the same approach he took three years ago when he drew closer to the record of 902 career wins — a mark held by his college coach and mentor, Bob Knight. He passed Knight in November 2011 by beating Michigan State in the Garden.
Now — after consecutive surprising losses put history on hold for a brief while — Coach K is in position to earn yet another memorable victory there.
He insists it will be just another win. His players know differently.
"When I was trying to decide what university I wanted to attend, being a part of Coach K's legacy had a big part in me coming here," said freshman big man Jahlil Okafor, a preseason All-American who was one of the nation's top recruits. "So I'm excited for it."
Krzyzewski's colleagues say the forthcoming milestone is a testament to his longevity, with Miami coach Jim Larranaga joking that "it means we're old" because "you can't get 1,000 wins in two years."
Without question, it took a long time and much patience. Krzyzewski spent five years at his alma mater, Army, where his first victory in 1975 was a 56-29 win over a Lehigh team coached by future NBA coach Brian Hill.
Krzyzewski has lasted 35 years — and counting — at Duke after a famously rocky start in which his first three teams were a combined 38-47.
Then came the 1982 recruiting class of Johnny Dawkins, Jay Bilas and Mark Alarie that helped propel the Blue Devils into seemingly permanent status among the nation's elite.
Among the schools he's beaten most often are Maryland (55 wins), Georgia Tech (53), Clemson (52) and North Carolina State (51) — though two weeks ago, the Wolfpack gave this Duke team one of the two losses that put Krzyzewski's chase for 1,000 wins on hold for a week.
Syracuse's Jim Boeheim, a close friend of Krzyzewski's who is second to him on the Division I men's wins list, jokes that Coach K will "coach forever."
"You've got to stay in coaching a long time, you've got to have good players and assistant coaches. It's not that easy," Boeheim said. "Sounds easy, but it's not that easy.
"I don't know how you win 1,000 games. I know when I started out and got to 100, I was happy to get there," he added. "He's going to coach for a long time. I have no expectations of ever catching him."
Reaching four figures is of secondary concern to Krzyzewski, who wants the focus on his freshman-dominated team and its chase for the program's first Atlantic Coast Conference tournament title since 2011 and its first national title and Final Four since 2010.
He figures that finally getting past the distractions that come with pursuing and reaching 1,000 wins will put the attention back on the players.
"When it happens, and if it happens, hopefully it happens sooner than later, I'll be very proud of it, but I'll try to get beyond it right away because we'll have a next game right away and I don't want it to interfere in the season," he said. "I don't want it to be the season — I want it to be the next game. That's the way I've tried to approach things."
Around the ACC
• LOOKING AHEAD: Syracuse may have fallen out of the national rankings, but the Orange (14-5, 5-1) remain very much in the ACC race. They enter the weekend tied with Notre Dame for second in the league behind Virginia and — after playing host to Miami on Saturday — can make a significant statement Monday night when they visit No. 15 North Carolina.
• PLAYER TO WATCH: Jerian Grant might be the biggest reason for Notre Dame's dramatic turnaround. The Fighting Irish didn't have him for academic reasons down the stretch last year and lost 13 of their final 20 games. With Grant leading the way, Notre Dame has soared into the top 10 and into contention in the league. Grant is the ACC's fifth-leading scorer (16.7 ppg) and averages a league-best 6.4 assists — with at least five of them in nine straight games entering Thursday night's game at Virginia Tech.
• INSIDE THE NUMBERS: Virginia Tech, Georgia Tech and Boston College were a combined 0-14 in ACC play after Wednesday night's games and the league's bottom three teams have a few things in common. They all rank 11th or worse in scoring offense, scoring margin and assist-turnover ratio. BC has yet to score 70 points in an ACC game while the Hokies and Yellow Jackets have only done it once apiece — with Tech needing two overtimes to do it in a loss to Notre Dame.
• ON THE WOMEN'S SIDE: It's always a big deal when Duke plays North Carolina — even when the traditional powers are a bit down. When the 15th-ranked Blue Devils visit the 12th-ranked Tar Heels on Sunday, it will mark their first matchup since 2000 in which neither team was in the Top 10. Duke is the league's toughest team to both shoot and rebound against, while North Carolina has the ACC's third-best scoring offense


Eric Moon is the author of "Categorically Not the Testimonies" in the June/July 2013 issue of Friends Journal. In our interview, he talks about the evolution of the modern testimonies and how they simultaneously inspire and limit us.
In the article, Eric talks about a survey he has workshop participants conduct at Quaker gatherings. They poll people in meal lines to give a one‐word answer to the statement "Testimonies are important because they are ___." We loved it so much that we asked our Facebook and Twitter followers to give their answers. Here's the word cloud they generated!
Eric Moon is a member of Berkeley (Calif.) Meeting and a staff person for the Western Region of the American Friends Service Committee.


You know when you're younger, in your late teens/early twenties, and you have this grand delusion that you're invincible? That wide-eyed delusion that you're going to be young and energetic forever, able to eat cheeseburgers all the time without gaining a pound, able to see your friends all the time without really trying. Then as you start getting older, the slow realization creeps up on you that you're going to have to work really really hard for your health and happiness?
Tell me I'm not the only one. Don't worry, I'm not going to get into an existential conversation about how to find happiness in life. But I definitely need to start eating better. Every week I tell myself I'm going to eat more veggies and less cheese/bread/ice cream/etc., but I'm always so wrong.
Last night at 9:30 pm, I got a wicked craving for rocky road ice cream and left to go buy some from the deli down the street from my apartment. They were already closed. I didn't realize that they close an hour earlier on Sundays, my mistake, but I still took it as a sign from the universe that I need to stop being such a fat cat.
I need to start eating more salads like this. Colorful, refreshing, filling, and really tasty. I've tried making different types of farro salads before (with pesto, tomato, and mozzarella à la caprese salad, with maple glazed winter squash) but Phillip doesn't really like farro. Surprisingly, he said this was his favorite farro salad so far. I'm taking that as a win.
This salad is sweet and spicy (from the watercress and radish) at the same time. If that's not your thing, you can definitely substitute spinach for a less spicy green. I've listed the option below.
Alternatively, if you don't like any of the veggies I have here, feel free to use anything you like. The farro and miso dressing are the integral parts of this salad, everything else depends on your own tastes!
In a food processor, blend all of the dressing ingredients until smooth.
In a medium saucepan, rinse the farro a few times over. Add water and salt, bring to a boil, turn heat to low, cover, and simmer for 30 minutes until cooked through. Drain (and rinse if you'd like) and let cool to room temperature.
In a small to medium bowl, soak red onion in cold water for 10 minutes. This removes the bite and makes it milder. Drain and pat dry.
In a large salad bowl, add cooled farro, onions, watercress, and radish. Drizzle dressing on top, toss, and let sit for 10 minutes to let the flavors marry before serving.


Ronaldinho signed an autograph for a supporter during a match in the Mexican Liga MX.
The Brazilian World Cup winner, who now plays for Queretaro, was approached by a fan holding a pen during open play in his side's 2-1 defeat by Atlas.
The referee stopped play and 34-year-old Ronaldinho begrudgingly signed a Brazil shirt the supporter was wearing.
Ronaldinho scored 33 goals in 97 appearances for Brazil in a 14-year international career.
He went on to score a consolation goal for his side in injury time from a direct free-kick.
It is Ronaldinho's first season in the Mexican league, having signed for Queretaro at the beginning of September.


Goldlink is an integral part of the ETSU experience.
The website hosts students' schedule builder, grades, financial aid and links to frequently accessed ETSU sites.
Goldlink's host was set to expire, so Information Technology Services decided this was the proper time to address some of the issues students had with its format.
Despite allowing students instant access to information online, the website was not mobile friendly, which prompted many student complaints.
"ITS decided to write a custom student portal so that we could address student requests for a mobile-friendly site," said Karen King, CIO and senior vice provost for ITS.
ITS also decided on the custom student portal in order to address student requests for a less cluttered version of GoldLink.
Along with the lack of functionality and design, Banner was set to be discontinued by ERP, leaving ITS with few options.
In Fall 2015, ITS began to look into the newer version of the third party portal, but the newer version was still not mobile-friendly and was more expensive than the previous version.
Since Spring 2016, different groups throughout ITS worked to create a new portal for ETSU that is mobile-friendly and more easily accessible across platforms.
Keeping students need in mind, King and ITS have been monitoring student feedback and have only been met with one negative comment since its launch on Sept. 19, 2016.
Throughout testing and its launch, the new GoldLink has been met with praise, especially for the new mobile format.
Simplicity was a factor in the upgrade, and many believe it is now easier to locate information quicker. The new platform also offers three choices of skins to allow personalization by students.
With many student concerns met, ITS will continue to monitor the success and usage of the site.
Those with concerns about the new layout should contact portal@etsu.edu. For any technical problems or questions, contact itshelp@etsu.edu.


Tune in later for the big reveal!
Looks like TKMaxx to me. I do love that store you can be incredibly lucky if you persevere.
Yep. I looooove TK Maxx. And you're right, part of the allure is the hunt.
C'mon, c'mon - show us what you bought!!!


After learning so much Spanish in our Spanish Language School in Nerja (Spain), what about a break? We are sure that when you finish your Spanish lessons, you would like to relax and do something completely different, but at the same time find out more about Spanish culture and listen to authentic Spanish.
Well, how about watching a Spanish film with your classmates and one of our teachers? Don´t miss this chance because you will be able to keep on learning Spanish as well as having a good time.
This time we propose you a wonderful way to improve your speaking and listening skills and to enrich your vocabulary by hearing native speakers in real situations. Spanish movies are another extremely valuable resource to supplement speaking because they can help you hear Spanish as it is more commonly spoken.
1. You will be able to hear a lot of new conversational phrases and idioms and the exact context in which they can be used.
2. You will learn new grammar, or at least better understand some of the stuff that's been confusing you.
3. You will listen to the same set of a few thousand words.
4. You build in situational images to associate with your newly learned phrases, words, and grammar.
In conclusion, when you use all of this newly-learned ammunition in your next conversation, you will sound confident and more natural. You've heard it as it would naturally be said, at a natural speed. Remember though, once you pick this stuff up, you have to go out and use it!!
Join us and take part in this activity after your Spanish lessons in Nerja.


Minecraft House Tour: Redstone Edition - Duration: 15 minutes.
How to Make a Nether Portal in Minecraft - Duration: 111 seconds.
Minecraft House Tour: Mansion Edition - Duration: 12 minutes.
How to Make an End Portal in Minecraft - Duration: 4 minutes, 14 seconds.


Sola Bee's Wine Country Wildflower Honey may not taste like chardonnay, but its rich, sweet flavor and thick texture pair just as beautifully with food and drink as your favorite glass of wine. These lucky bees spend their days buzzing over the hills of Sonoma. Wish we could do the same, but at least we can dream as we dip into the jar.
Crackers topped with goat cheese and a drizzle of this honey make for a super-simple, yet super-delicious hors d'oeuvre.


text:
Le bâtiment situé 19 rue Kralja Petra I à Sombor (en serbe cyrillique :  ; en serbe latin : ) est situé à Sombor, dans la province de Voïvodine et dans le district de Bačka occidentale, en Serbie. Il est inscrit sur la liste des monuments culturels de grande importance de la République de Serbie (identifiant SK 1246).

Présentation
Le bâtiment, constitué d'un rez-de-chaussée et d'un étage, a été construit dans les années 1860 selon des plans de l'architecte Anton Rekel.

La verticalité de la façade principale est assurée par des colonnes qui supportent la corniche qui court le long du toit ; dans la partie centrale, cette corniche est étayée par consoles. À l'étage, les fenêtres rectangulaires s'insèrent dans des motifs géométriques et floraux ; sur le balcon situé au centre de l'étage, se trouvent trois ouvertures à double battant surmontées de reliefs richement ornés de motifs reprenant ceux des fenêtres latérales.

Dans cette maison a vécu Kosta Popović, l'un des hommes politiques les plus importants de Sombor dans l'entre-deux-guerres, qui a été vice-président de l'Assemblée nationale de Yougoslavie et sénateur du Royaume de Yougoslavie.

Notes et références

Article connexe
 Monuments culturels du district de Bačka occidentale

Monument culturel de grande importance en Serbie
Monument culturel à Sombor
Sombor


As 2018 is drawing to a close, we at Synective Labs would like to wish everyone and all a merry Christmas and a happy new year! Don't forget to eat a large pepparkaka during the fika.
We have a new website! This is perhaps a fact you are privy to, beeing on the website and reading this text. It has all the content of the old website plus some new, all wrapped up in a modern and stylish design.