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Yearly Reviews
A Muslim, a Christian, and a Jew walk into a church
April 30, 2006 September 12, 2009 /
Muslim, Christian, Jew at Pitt Street Uniting Church
It's Sunday night and I've just returned from a reasonably interesting evening at the Pitt Street Uniting Church.
I saw the sign a couple of weeks ago advertising an evening featuring a Christian, a Muslim and a Jew, talking about issues of diversity and belief and quickly jotted it in my diary as an interesting Sunday night excursion.
I've never been to a Uniting Church before. Well, actually as a child I used to go to Sunday School at a Presbyterian Church (with my cousins), but never as an adult. The venue was actually a former Congretational Church, one of the three churches (along with Methodist and Presbyterian) which formed the Uniting Church. On entering I noticed the lack of traditional iconography (I'm a Catholic, after all) but did notice patchwork quilts and other symbols noting the notion of a church made up of diversity. There wasn't a crucifix in sight, the alter was hardly visible and the organ was replaced by a piano. The congregation consisted of mostly older people and (clearly, at question time) people with a commitment to those values of diversity, including a couple of transexuals.
The evening consisted of three people involved in the Goodness & Kindness Project (a Christian, a Muslim and a Jew) talking about their experiences of life and belief, and how they related those issues to people in primary schools, high schools and in the broader community, though it was their interest in primary schools that was strongest, because they believe it's between the ages of 9 and 12 that you can have the most effect.
They, and a team, have travelled all over the countryside speaking to 25,000 people (85% primary school, 14% secondary school, 1% adult) about shared values.
Although they conceded their points of difference (especially on the issue of Israel/Palestine), they were most interested in their points of commonality. They emphasised, for example, the commonality of Bible stories, including Jonah and the Whale and Moses crossing the Red Sea. I was also surprised to hear about how Islam recognises Jesus and the Mother of Christ, Mary, in its teaching. I also learned that, except on one day each year, Jewish people do not use the name or word God. In fact, the word is unpronouncable in the Torah, leaving our vowels. They also, for example, spoke about their trepidation, sometimes, in going into "faith schools". The Jewish man, for example, spoke of the fear he felt the first time he went into a Muslim school (he wears traditiona clothing, bit hat, beard etc_, though now goes into those schools as a "regular face"
The Christian man spoke the least, the Jew spoke a little more, but mostly it was the Muslim man who spoke the most, reflecting I guess, the underlying interests of the audience to know more about Islam. Audience members raised issues such as the lack of female representation (they DO have women doing the program) and the lack of involvement of other religious traditions such as Buddhism (there's a common interest in these three religions which believe in just one God) which challenged the notion of what they are doing, but mostly people were supportive of this initiative.
Overall it was an interesting evening, though not earth shattering. My favourite moment, however, was when the Jewish man spoke of going to the World Trade Centre, and upon seeing some graffiti which said "death to all Muslims" came to a conclusion. He said, at that point he realised the world could go in two directions, one of division or one of unity. Upon making this realisation he said he made a promise to God to work for unity. A very touching moment that led to a round of applause.
If you want to know more, here's a link to a program about them, as featured on ABC TV.
Sydney's Lockout
Art in Lismore
Tropical Fruits Street Parade
Autumn Shadows
Customer is Always Wrong
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James O'Brien on Sydney's Lockout
Andrew on Sydney's Lockout
James O'Brien on Art in Lismore
James O'Brien on Private Roy O'Brien and his mother Mrs Sowter of Lismore.
Lyn Davey on Private Roy O'Brien and his mother Mrs Sowter of Lismore.
mcgregorglenda on Goat Island
James O'Brien on New Year's Day
Andrew on New Year's Day
James O'Brien on We Have Trams in Surry Hills
Art in Lismore – James O'Brien on Tropical Fruits Or Not?
Dean Kyte on We Have Trams in Surry Hills
Albert Bernard O'Brien and Bertha Ann Dunn
Allan McLean and Janet McFarlane
Charles Dunn and Bertha Rixon
Donald Laing and Sarah Higgins
James Laing and Isabella McLean
James O'Brien and Lena Noonan
James O'Brien and Mary Smith
James Rixon and Amelia Goodwin
James Wright Goward and Mary Ann Denny
John Dunn and Catherine Elliott
John Dunn and Elizabeth Davis
John Hoare and Elizabeth Love
John Love and Martha
John Noonan and Hannah Lynch
Maurice Lynch and Mary Moynihan
Peter O'Brien and Mary Ann Goward
Robert Higgins and Ann Owen
Robert Higgins and Ellen Triggell
Thomas Rixon and Jane Laing
Thomas Triggell and Henrietta Spencer
William Elliott and Mary Fitzgerald
William Rixon and Ann Hoare
William Rixon and Ellen Laing
For the most part, this blog is written on Gadigal land, now known as Sydney. I am proud to acknowledge the Traditional Owners of country throughout Australia and recognise their continuing connection to land, waters and culture. I pay my respect to Elders past, present and emerging.
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MenuLeague LeadersClub StatsSeason StatsPlayer StatsAll-Time
Select a ClubAtlanta United FCAustin FCCF MontréalChicago Fire FCColorado RapidsColumbus Crew SCD.C. UnitedFC CincinnatiFC DallasHouston Dynamo FCInter Miami CFLA GalaxyLos Angeles Football ClubMinnesota United FCNashville SCNew England RevolutionNew York City FCNew York Red BullsOrlando City SCPhiladelphia UnionPortland TimbersReal Salt LakeSan Jose EarthquakesSeattle Sounders FCSporting Kansas CityToronto FCVancouver Whitecaps FC
RegularPost Season
GoalsAssistsShotsFoulsGoalkeepingShutoutsSaves
PKG/A
G/90min
SC%
Felipe Gutiérrez SKC M 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Botond Barath SKC D 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Ashtone Morgan RSL D 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Luke Mulholland RSL M 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Alejandro Guido LAFC M 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Alvin Jones RSL D 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Ken Tribbett NSH D 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Kyle Adams HOU D 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Sam Gleadle MIN M 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Michee Ngalina PHI F 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Jonathan Perez LA M 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Casey Walls SJ D 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Keesean Ferdinand MTL D 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Tomas Giraldo MTL M 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Michael Halliday ORL D 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Steeven Saba MTL M 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Tyler Freeman SKC F 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Javier Casas CHI M 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Simon Colyn VAN M 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Gianfranco Facchineri VAN D 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
John Tolkin RBNY D 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Damian Rivera NE M 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Alfonso Ocampo-Chavez SEA F 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Tayvon Gray NYC D 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
Tony Leone LAFC D 0 0 0 0 0 0 0 0 0/0 0 0 0.00 0.0
GP: Games Played, GS: Games Started, G: Goals, MIN: Minutes Played, A: Assists, SHT: Shots, SOG: Shots on Goal, FC: Fouls Committed, FS: Fouls Suffered, Y: Yellow Cards, R: Red Cards, GF: Goals For, GA: Goals Against, SO: Shutouts, SV: Saves, CK: Corner Kicks, PKA: Penalty Kick Attempts, PKG: Penalty Kick Goals, PKS: Penalty Kick Saves, OFF: Offsides
The above statistics are from matches played for this club. If a player was a member of multiple teams in a season, their cumulative stats are available on mlssoccer.com/stats.
Watch the top 5 goals from day 2 of eMLS League Series One
January 17, 2021 (1 min)
Relive the Top 5 moments from eMLS League Series One quarterfinals
Extratime: Season 11, Episode 4
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The Call Up - Season 3 - Episode 1
January 7, 2021 (83 min)

redpajama_set_name: RedPajamaCommonCrawl


One of the best things about being a colorist is the instant gratification we can provide our clients. Unlike most beautification services, we can painlessly transform clients so they look younger and brighter in just a few short hours.
Just as pixie cuts grow out and fashion colors fade—grey hairs keep multiplying and growing even after you come in for a color service. In fact, struggles with grey outgrowth are the most common complaints we hear from our clients.
Why does it come in so fast? Wasn't I just here? Is there anything I can do to make it stop growing? Don't worry—we're here to answer these far too frequently asked questions.
1. Why does grey come back so fast?
Like all body hair, the hair on your head grows every single day. You know how you shave your legs, and then two days later you have stubble? The hair on your head acts no differently. The more grey hair you have and the farther away from its natural color that you tint it, the more obvious the outgrowth is.
Our advice: Talk to your colorist about ways to make the transition less extreme. We'll work with you to find the perfect shade to lessen contrast when your hair inevitably grows out. Another pro tip: We recommend adapting your makeup or color palette to accent your new, lighter locks.
2. Is there anything I can do to make it stop growing?
In short: no, sorry. Your hair is going to grow, whether you want it to or not.
3. What can you do to make greys less obvious?
Variation is a great way to distract the eye from a strong demarcation line. On your next consultation, we recommend discussing highlights with your colorist. Not only do highlights and lowlights help mask greys, they also add dimension and contrast to your look.
4. I have an event in a few days—what can I do right now?
Two words: temporary color. That's right, we carry two different kinds of temporary color solutions to get you through to your next appointment.
Option One: hairspray. At diPietro Todd Salon, we carry an airbrush spray from Oribe that instantly covers new growth. It's waterproof, so you won't have to worry about your color disappearing until you shampoo, even if you plan to sweat.
Option Two: powder formula. We love the Wow product line, which includes powder formulas that are applied much like eye shadow. We recommend this option to touch-up your hairline or for those who have just a few pesky grey strands.
5. I'm so over this—can you just color my hair grey?
No—well, maybe. But we can almost guarantee you won't love it. To achieve artificial grey hair; first you must bleach the hair to its lightest shade, almost unachievable on pre-colored hair, and then tone it grey, which only lasts a few washes. Some other side effects of this harsh and expensive service include: compromising and damaging hair, lengthy service times, and an unpleasant grow out. Luckily, we have many tricks up our sleeves. Your colorist knows you best, and can talk you through different ways to naturally use your greys to achieve your ideal look.
6. Alright, this has to be a joke; I saw white hairs within days. Did the color work last time or did it just wash off?
Sorry to disappoint—but if you color your hair a shade that's brown or darker, you can see new grey growth within a few days. That's the truth, and there's nothing any colorist on this planet can do about it. Color doesn't wash off—trust me, we wish it did sometimes. That being said, your colorist can easily fix any strands that may have been missed the first time. And those tiny dots of grey sprouting out close to your scalp…that's just normal hair growth.
One last, life-changing secret: Pre-book your color appointments at one of our five locations. No amount of wishful thinking is ever going to make your color last longer, but pre-booking your appointments allows you to fight greys long before you reach your breaking point.


Phone Number in Chester. Find a Phone Number, Address or other Contact Detail, like Email Address and Profiles of people or friends who live in Chester, West Virginia, USA. Results of Phone Numbers and Addresses in any Street.


By crowdfunding, the press seeks to raise money to help pay contributors' fees and printing costs, as well as to donate to the legal campaigns of imprisoned poets Ashraf Fayadh and Dareen Tatour.
A Blade of Grass: New Palestinian Poetry will be a facing-page, meet-in-the-middle collection that brings together, in English and Arabic, new work by poets from historic Palestine and the diaspora, including work by Marwan Makhoul, Maya Abu Al-Hayyat, Fatena Al-Gharra, Dareen Tatour, Ashraf Fayadh, Fady Joudah, Naomi Shihab Nye, Deema K. Shehabi, Mustafa Abu Sneineh, Farid Bitar, Shahid NWA, Sara Saleh and Mahmoud Darwish.
Contributing translators and translation-editors include Josh Calvo, Raphael Cohen, Katharine Halls, Sarah Maguire, Anna Murison, Tariq Al-Haydar, Andrew Leber, Waleed Al-Bazoon, Wejdan Shamala.
Foyle notes that funds raised to support Ashraf Fayadh will be donated to the English PEN campaign on his behalf. Funds raised for Dareen Tatour will be donated to the Free Dareen Tatour campaign.
Reblogged this on Free Haifa.


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Bernard addresses concerns at State of INDYCAR
Allow time to determine oval racing's future
MFW podcast episode 54
IndyCar 2010 — What really mattered
Infineon: Saturday thoughts
More speculation on the 2011 schedule
Mid-Ohio: Saturday thoughts
An interview with Randy Bernard
Updated speculation on the 2011 schedule
COUNTERPOINT: Should RB listen to fans re: schedule?
Counterpoint, IndyCar commentary — By More Front Wing Staff on July 26, 2011 1:47 pm
This article was originally posted to INDYCAR Nation on July 13th, 2011. To view More Front Wing's exclusive INDYCAR Nation content as soon as it's released, sign up for INDYCAR Nation today at indycarnation.indycar.com.
PAUL'S POINT:
Now that the 2011 IZOD Indycar Series has passed its midway point, we can begin to look to 2012 and speculate about next season's race schedule. Frankly, guessing at schedules is one of my least favorite things to do because there are just way too many moving parts and important variables that are beyond INDYCAR's control. As we saw last year when major schedule adjustments were necessary because of shifts in NASCAR's 2011 schedule, trying to guess what might happen if one domino falls is a tangled web that requires way too many ifs for us to figure out.
What is important, though, is that the 2012 IZOD IndyCar Series schedule be a reflection of the types of races that the fans are most interested in seeing. While it is true that the IICS cannot simply show up and put on a race at any track the fans choose, it is important that fans feel every effort is exhausted to include their favorites. Whether that's Phoenix or Road America or Cleveland, fans need to know that the tracks they are clamoring for most are considered before others about which they are mostly apathetic.
There is probably no more divisive topic in open-wheel racing than the composition of the schedule with regard to ovals vs. road/street courses. Just thinking of the topic makes my head spin and makes the argument over spec cars vs. open competition seem like child's play. There are still small but passionate factions of fans who believe the IICS should be either 100% ovals or 100% twisties. We've already been there, and those schedules didn't work. The original IRL model didn't work because fans still want to see open-wheel cars take on the great road and street circuits of North America. Likewise, the Champ Car model failed because oval racing is the backbone of racing in America and to wipe it from the slate is to turn your back on over 100 years of racing heritage. Knowledgeable fans of the Series understand that the schedule really needs to be a diverse mix of racing on both road/street circuits and ovals and that maintaining that diversity is the best way to stabilize the current fan base and gain new fans over the long run. Should the schedule get off-balance as it was through the early 2000s, fans will again quickly lose interest in open-wheel racing, and the fledgling momentum that INDYCAR is currently enjoying will disappear.
The majority of fans have said they want to see a well-balanced mix of events, and as much as possible, Bernard has delivered and INDYCAR has done a good job of maintaining that balance. Last year, fans said they wanted to move away from so many dangerous 1.5-mile speedways (and particularly those owned by ISC, at which INDYCAR was largely treated like the red-headed stepchild) and toward short ovals. In response, Bernard dropped ISC-owned 1.5-mile ovals at Chicago and Kansas and added 1-mile ovals at Milwaukee and New Hampshire. Fans have asked to have Michigan back on the schedule, and while Bernard has not been able to deliver Michigan quite yet, he gave the next best thing in its sister track in Fontana, California, which was announced last week as being part of the 2012 schedule.
Bernard needs to be very careful of seeing too many dollar signs from new events that don't really have a significant appeal to the INDYCAR fan base. Rumors of a second race in Brazil, a race in China and/or Qatar, or even the newly rumored street race in Fort Lauderdale are unlikely to significantly move the needle in terms of American appeal. Furthermore, their priority over events such as the aforementioned Phoenix and Road America races could be seen by some fans as an isolating move and cause fans to fear a return to the closed-off days of the George administration. In an era where uniting the fan base under the banner of INDYCAR has to be at the forefront of every decision, fostering memories of the divisiveness of the George era is the last thing that's needed!
Obviously, there is no way that Randy Bernard could ever be given a crystal clear indication of the fans' desires because of the diverse cross-section that makes up the INDYCAR fan base. Most fans realize that and understand that not every decision made by Bernard is necessarily going to meet with their approval. However, as long as Bernard and INDYCAR continue to listen to the fans, hear their concerns, and make every effort to satisfy the general sentiment of the fan base, the fans will continue to reward the Series with their loyalty and their support.
STEPH'S POINT:
The fallout from this weekend's race sealed it for me — INDYCAR's current core fan base doesn't know what's good for the growth of this sport, and Randy Bernard needs to stop putting so much weight on their opinions when it comes to scheduling races.
Let's use two very recent examples to illustrate this point: Milwaukee and Toronto.
The current fan base kicked and screamed and cried that Milwaukee needs to be on the schedule. It's the only track in America with a history older than the Indianapolis Motor Speedway. It's an oval — a flat short oval at that — and unique oval tracks are becoming harder to come by. Plus, we need to maintain that precious 50/50 ratio, right?
Well, race weekend came around, and guess what — the race was entertaining (in spite of some faults), but the crowd was terrible, the corporate and sponsorship support wasn't enough, and the TV numbers only hit a 0.8 rating on ABC after being promoted during the Indy 500 broadcast three weeks before (compare that to a 1.4 for the St. Petersburg race, the season opener).
Now, let's look at Toronto. There was the usual amount of criticism going in, but there was even more coming out. A faction of the sport's most dedicated fans complained that there was too much contact, it wasn't real racing, this type of track doesn't belong on the schedule, et cetera.
But again, look at the numbers: the grandstands were packed, corporate and sponsor support increased substantially, and not only did Versus pull its second-highest rating yet for an INDYCAR race at a 0.5 (not blockbuster but definitely an improvement), but TSN (the Canadian sports network) received its highest rating for a Toronto race since 1997 and the best rating for an INDYCAR event ever with more than 1.2 million unique viewers tuning in at some point during the broadcast.
What can we conclude from this? The current fan base is a very vocal minority that either doesn't always put their money where their mouths are or isn't large enough to pay the bills. There's a group of us that likes to think of INDYCAR as being a little family-run operation that puts people first, but it can't be. It's a sport and a business, and it needs to attract attention and earn profits to stay alive.
Randy Bernard has a job to do. The Toronto race brought in sorely needed outside attention and dollars, and he needs to figure out how to continue to do that. It's been demonstrated that it won't happen by going to places like Milwaukee or Chicagoland or Homestead. It can happen by going to city streets to take the racing to the fans, or to the oval in Vegas to create a destination weekend for out-of-town visitors, or to Sonoma to give his corporate clients an ideal place to entertain their guests, or to Iowa where enthusiastic fans sell out the grandstands and the drivers put on a great show.
There are certain issues for which Bernard should definitely go to the fan base for input. When a near-unanimous opinion exists among current fans, Bernard can use those strong feelings to define what makes INDYCAR racing unique in the world of motorsport, and he can then tout those attributes when marketing to new eyes. The off-season controversy about the Lucky Dog rule is a perfect example: nearly all INDYCAR fans vehemently opposed it, so Bernard can use what he learned from that passionate response to market to NASCAR fans who are growing tired of that organization's gimmicks. But now, it's easy to see that these sorts of issues are as far as input from current fans should go, and decisions like scheduling that drastically affect the bottom line need to be made independently.
There were some people who were so upset about this weekend's race that they threatened to walk away if a similar event unfolds in the future. It would be interesting to see how many of those same people complained about the nearly pass-free event at Barber last year — or this year's entertaining race at Barber, for that matter. For some people, a race that's not exactly what they want to see — whether that's wheel-to-wheel spec racing at an oval, a race on a road course with constant passing but zero contact, or even just the Indianapolis 500 and nothing else can measure up — will always draw blustering and ire. A diverse schedule that demands a wide range of talent from its drivers is demonstrably the most commercially viable form of open-wheel racing on this continent, but some people can't see that through being so mired in wanting to see what they like and nothing else.
It's time for Randy Bernard to put all of this behind him and move forward with the best interest of the sport in mind. The question that he needs to ask himself is this: if one impossible-to-please fan walks away for every three enthusiastic new ones who walk in, should INDYCAR really care?
Paul Dalbey (@Fieldof33) and Steph Wallcraft (@99forever) are co-editors of MoreFrontWing.com (@MoreFrontWing), your source online for blogs, photos, podcasts and more covering the IZOD IndyCar Series and beyond. Reach them both at feedback@morefrontwing.com.
Tags: Randy Bernard, Verizon IndyCar Series - Scheduling
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Last reply was August 9, 2011
View July 26, 2011
There's no sport with a more divided fan base than Indycar. For every fan who wants "black," there's another who wants "white." Just name the subject–venues, engines, money, drivers, owners, rules–and you'll find one "pro" for every "con."
Bernard has to listen to fans, owners, the media, broadcast partners, venues, sponsors and drivers–and then to make his own decision that will immediately piss off half the people.
madtad1
View August 9, 2011
Both of you make good points, but are also missing several important ones. You both talk about fanbase, but are very USA/N. American centric. IndyCar needs to grow its International fan base as well to help bring in foreign $$ and fans. It needs to try to pull in the F1 fans to let them see that there is an alternate open wheel circuit.
Thanks to a strong field of Brasilian drivers, IndyCar is opening up the market in Brasil, increasing it's viewership and, most importantly, opening up sponsorship and advertising opportunities both for the league as well as individual drivers. Remember the hell TK went through pulling together a full season ride? With increased overseas' viewership, more international money can be brought in to sponsor races, prizes and drivers. The "Swiss Missile" could surely benefit if Nestle, a Swiss company, could be convinced to invest in her and IndyCar.
Now Randy Bernard has to balance a lot of items: what do the fans like, what do the sponsors need, keeping the team owners happy and getting the best drivers on the track. Having spoken with Randy several times, it is obvious to me that he is dedicated to helping the sport to grow and succeed. After much badgering from the fans, he put Milwaukee on the schedule. I think most people would agree that the race was ok, but the attendance and viewership don't warrant a return there. Brasil, on the other hand, has turned out to be such a financial and attendance success that there are serious negotiations to add a second race there next season. Randy has to listen not only to the US fanbase, but also the increasing overseas' fanbase.
Let's be honest here about the overseas races. If Randy was able to get an IndyCar race set at Silverstone, Hockenheim, or Spa, how many of you would be deriding those tracks as "unlikely to significantly move the needle in terms of American appeal"? The Sao Paulo race has the longest straight in IndyCar right now and has excellent passing zones. There has been some exciting racing there the last two years. There's no reason a Chinese race or second Brasil race couldn't create equally exciting tracks.
There are over one BILLION potential viewers in China alone. If only 1% become IndyCar fans that would add 10 Million viewers weekly to the races. Add to that the possibility of a full-time Chinese racer next season, Ho-Pin Tung and that could be a very real possibility. Brasil's population rivals the USA and F1, like soccer, is a TV religion for many people there; they never miss a race. IndyCar, with four full-time Brasilian drivers and several part-time drivers is already increasing its appeal with that population and the TV viewership is increasing. I'm sure NBC/Versus would be interested in the increased access to overseas markets.
Also, remember 2012 will no longer be "spec racing". Everyone will be in new cars, with new aerokits, new engines, etc. Add in some new tracks and this might help level the playing field for the non-Death Star teams.
Frankly, I think Randy Bernard is doing an excellent job in listening to the fans. Taking the fans' advice when it makes financial sense, adds to the appeal of the sport or corrects a situation that may lose fans is something that he does well. However, the few fans that take the time to deliver honest opinions, whether we all agree with those opinions or not, cannot be allowed to shout down new ideas or attempts at new directions that may help expand the sport just because it does not fit their view of how the sport should progress. Randy Bernard and IndyCar should *never* say, "but we've never done that before."


5 pin DIN Plug to Socket 1.2 Metre Extension leadExtension cable to suit the older 5 pin DIN keyboards and mice.This extension lead gives greater range from the base computer.
Cable diameter 5mm.Please note:- this is an extension cable i.e. it has a plug one end and a socket the other in order to lengthen the lead on your present 5 pin DIN keyboard or mouse. Of course it is a standard 5 pin DIN 180′ and so could be used in any application where a 5 pin Din is used.


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Giving medical school students a head start
Krista Civiletti
Brianna Shinn
Gwen Galasso
By EILEEN GODIN - Associated Press - Saturday, February 22, 2014
NOXEN, Pa. (AP) - Identifying a heart murmur for the first time in her medical career, second-year medical student Brianna Shinn, of Clarks Summit, experienced first-hand the value of an early mentoring program between The Commonwealth Medical College and local medical practices.
The Continuity Mentor program with TCMC offers students a unique opportunity to develop a learning relationship with area doctors and patients. The integrated learning atmosphere helps to reinforce what the student is learning academically with supervised hands-on experience.
The in-field training only occurs once a week during a three-week period known as Community Weeks for first- and second-year students. The students shadow the physicians - learning how to interview the patients and identify any history of family health issues - and begin to perform the initial exam.
Third-year students continue the program but add the responsibility of figuring out the symptoms of the patient to develop a plan of action. By their fourth year, students will be expected to present a plan of treatment to their mentors.
Shinn and classmate Stephanie Veit, of Chesterfield, Mo., spent Tuesday at the Monroe-Noxen Health Center, a primary care facility in Noxen, with Dr. Krista Civiletti and Dr. Gwen Galasso.
The Continuity Mentor program covers 16 counties which are broken up into regions: South Regional Campus Clinical Faculty, covering the Wilkes-Barre area; North Regional Campus Clinical Faculty, covering the Scranton area; and the West Regional Campus Clinical Faculty, covering the Williamsport area.
The Monroe-Noxen Health Care Center is in the South Campus coverage area. Anne Green, director of marketing and public relations for The Commonwealth Medical College, said there are 265 clinical staff members in the South Campus.
Wearing the standard white physician's jackets, Veit and Shinn visited with incoming patients.
"I love this office because you see a variety of things," Shinn said.
Shinn's excitement of recognizing a heart murmur comes after just finishing a cardiology and pulmonology unit in class.
"We just finished cardiology and pulmonology," she said. "We had a patient today with COPD and just being able to listen and understand what I was hearing was great."
Normally medical students do not see patients until their third year, Civiletti said. The program allows students early in their education to be exposed to working with patients.
"When you see it in front of you, it helps to solidify what you were learning in class," Civiletti said. "Sometimes you have so much information coming at you in class, that when you see it in a patient, it reinforces it."
Learning to diagnose ailments and physical problems is just one component of the experience for students. Learning bedside manner and how to maintain a good working relationship with other professionals in the office as well as the patients is another.
"It is good to see how a physician's office works and how doctors work with nurses and how they interact with their patients," Veit said. "They think outside of, 'Oh you're here for you COPD.' They ask, 'How is your wife? Your family?"
Galasso said the program helps students develop compassion and empathy for their patients early on.
The benefits of this type of program reach beyond experience for students. Civiletti said in an rural area like Noxen, many residents are under-served in regards to medical care. Both Galasso and Civiletti hope by building relationships between students and patients, that the medical students will be more likely to stay in the area.
https://bit.ly/1jCPVBy
Information from: The Citizens' Voice, https://www.citizensvoice.com


text:
Q: jQuery Remove Item On Button Click I simply want to remove these items on button click, and I'm having trouble. I've had a look at other similar posts too, but I'm not familiar with jQuery so I'm still having trouble.
I want to be able to delete individual items on button click.
Thanks! :)
jQuery:
$("#cart_remove").click(function() {
    $("#cart_remove").parent("#cart_g_id").html();
});

HTML:

         Remove

// I have multiple items here

A: you need to change button id to class in your code just because of you are having a multiple button
  HTML :

                Remove1

              Remove2

 jQUERY:

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try this i hope it help to you

redpajama_set_name: RedPajamaStackExchange


If you are watering your garden as one of your garden works but your garden just too wide to water, then retractable garden hoses are going to make it easier, simpler and faster in watering garden. It is taken for granted that you will find it tiring and make you have painful backache if you carry the waters just like the traditional method in watering your garden. As garden tools, retractable garden hoses will surely be advantageous to you since you will be taking your time in watering your garden though you have a very wide garden since all you have to do is just retract and pull the hoses' trigger. There are some options of these hoses which are available in different models, colors and specifications which you can choose according to your desire.
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text:
All issues Volume 11 / No 2 (April 2005) ESAIM: COCV, 11 2 (2005) 285-309 References
ESAIM: COCV
Volume 11, Number 2, April 2005
https://doi.org/10.1051/cocv:2005008
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A viscoelastic model with non-local damping application to the human lungs
M2AN 40 (2006) 201-224
Approximate maximum principle for discrete approximations of optimal control systems with nonsmooth objectives and endpoint constraints
ESAIM: COCV 19 (2013) 811–827
Exponential convergence of hp quadrature for integral operators with Gevrey kernels
Automatic simplification of Darcy's equations with pressure dependent permeability
ESAIM: M2AN 47 (2013) 1797-1820
The Dynamical Impact of a Shortcut in Unidirectionally Coupled Rings of Oscillators
Math. Model. Nat. Phenom. Vol. 8, No. 5, 2013, pp. 173-189


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REVIEW: This World We Live In by Susan Beth Pfeffer
JiaB+ Reviewspost-apocalyptic / survival / Young-Adult9 Comments
Dear Ms. Pfeffer,
I've made no secret of the fact that I love post-apocalyptic novels. While I do think it's more suited to certain genres than others (I'm afraid I've yet to really fall in love with a post-apocalyptic romance), post-apocalyptic young adult fiction is one subgenre I have yet to get tired of. I was first introduced to your work when someone gave me Life As We Knew It as a Christmas present. I fell in love with that book and sang its praises to anyone who'd listen. And believe me, I was completely ecstastic when many award-giving people agreed with me.
You later wrote a companion book to LAWKI, the dead & the gone. My feelings were very mixed about that book and while I thought it was a good read, I wasn't convinced it lived up to the promise of LAWKI. But then again, what could? That's a real dilemma authors face and I do sympathize but as a reader, I often just want a book as awesome as the first.
Which brings us to This World We Live In (hereafter abbreviated as TWWLI because I am lazy). As previous novels chronicled, a meteor hit the moon and knocked it into an orbit closer to earth. As a result, the moon's gravitational pull upon the earth was made that much stronger. This resulted in many environmental changes and catastrophes: tsunamis that destroyed pretty much all of New York City, volcano eruptions that left a permanent thin layer of ash which blocked out the sun, earthquakes, and the like. When TWWLI opens, it's been a year since that fateful event when life on earth was irrevocably changed.
In TWWLI, we also return to the life of Miranda Evans, the protagonist of the first book, LAWKI. When the novel opens, Miranda has been having terrible nightmares. She wonders what happened to her father, her stepmother, and their unborn child to whom she was meant to be godmother. For the past year, she's lived in a house with her mother and two brothers. They've survived on the weekly rations handed out by town officials. It's not really a life but it is survival and sometimes that's all you can ask for. But maybe Miranda has a bit of intuition in her because one day, her father shows up on their doorstep with his wife, their newborn baby (a boy, not the girl Miranda had been hoping for), a man named Charlie whom they'd befriended, and two teenagers they picked up along the way — Alex and Julie.
Readers of the previous two novels will probably recognize those last two as characters from the dead & the gone. I have mixed feelings about this. When they first turned up, I was skeptical. I tend to find stories in which characters from previous books show up and meet a little contrived at the best of times and more than a little twee during others. But I'll also be honest and say when I was the age of these books' target audience, I ate that sort of stuff up with a spoon so that's just a personal preference of the me in the present day.
By the end of the book, I was very glad you had made this choice. I love the interactions between Miranda and Alex. They offer a dynamic that wasn't present in either of the previous novels so that was fresh.
"You don't have to believe in the church," he said. "Or even in God. Believe that people can change things."
"No," I said. "I don't know that anymore." My mind flashed back to the dead man with his dog lying beside him. "We're all helpless," I said. "There's nothing we can do. There's nothing left to trust in."
"Trust in tomrrow," Alex said. "Every day of your life, there's been a tomorrow. I promise you, there'll be a tomorrow."
"Do you trust in tomorrow?" I asked.
"I have to," he said. "For Julie's sake."
"But you don't trust in us," I said. "To look after Julie."
He answered with silence.
"You don't trust in anything, either," I said. "Not really. Your God, your church, your tomorrow. You don't even trust Carlos. You're just doing what he tells you because it's easier."
"That's not true," Alex said. "You don't understand."
"I do understand," I said. "But I don't care. I'm not a dream girl. I'm a real human being with real feelings. How can I trust tomorrow? Tomorrow terrifies me. I wake up every morning scared and I go to bed every night scared, and all those tomorrows I've lived through are exactly the same. Hunger and fear and loneliness. Exactly the same as you, as everybody. Only you're worse, because when we ask you to share our hunger and our fear and our loneliness, you turn your back on us. I may be lonely and scared and hungry, but I haven't given up on loving people yet. You have. Or maybe you never loved anyone. Maybe all your life was dreams."
It helps that these two have very different outlooks on life, by virtue of their backgrounds and upbringing.
While there's never been a question about your ability to capture how bleak and grim this world is, I liked you portrayed how such a setting makes what would ordinarily be insane events seem normal. I'm specifically thinking of what Matt and Jon went to the coast to fish and a week later, they return with Syl who Matt has declared to be his wife. The circumstances surrounding how this came to pass are what show how society has deterioriated: Syl had been traveling with a man who beat her and when the brothers discovered this, they put a stop to it and took Syl away from the man.
In LAWKI, one of Miranda's best friends opted for a life similar to Syl's — she chose to leave town with a man who promised safety in exchange for her body. In some ways, I think Syl brings that narrative thread full circle: what happens to a girl who'd chosen that life and how it forever changes her. Not once does she ever really speak of love when it comes to Matt despite his making constant proclamations of his undying love for Syl. (Me? I think Matt just needed to get laid.) But it's obvious she does appreciate the life she's found with Matt and his family.
I definitely like the return to Miranda's POV. I know LAWKI was heavily criticized for Miranda's self-centered narrative but hey, she's a teenager whose life is changed when the world ends. Miranda's self-centeredness was very grounding and kept the fantastic familiar. So that said, if readers didn't like that self-centered aspect of Miranda's narrative, they're not going to like it now in TWWLI. Nor will readers who dislike the epistolary format.
My only complaint is that I think the ending pushed very hard against my suspension of disbelief, which already had been nudged by Alex and Julie showing up on Miranda's doorstep. I don't want to spoil what happens but while I see it as being necessary to encourage the Evans family and company to do what needs to be done, it also struck me as suddenly dramatic, overly so, in a book that had been quiet for the most part as it chronicled how people survive, how they keep hope alive when every day does something to beat it down, and how to keep faith when all signs tell you to stop.
All that said, I found this book enjoyable to read and more in line with the experience I found with LAWKI. I think many readers of post-apocalyptic YA will feel the same. B+
My regards,
This book can be purchased at Amazon . No ebook format.
Jia is an avid reader who loves fantasy and young adult novels. She's also currently dipping her toes in the new adult genre but remains unconvinced by the prevalent need for traumatic pasts. Her favorite authors are Michelle West and Jacqueline Carey. YA authors whose works she's enjoyed include Holly Black, Laini Taylor, Ally Carter, and Megan Miranda. Jia's on a neverending quest for novels with diverse casts and multicultural settings. Feel free to email her with recommendations at jia@dearauthor.com!
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After your review of The Dead and Gone, I bought two copies of Life As We Knew It — one for myself and one for my sister. I'm ashamed to say I haven't cracked my own copy open yet but my sister read hers and loved it, and she's a very picky reader!
Courtney Milan
After your review of Life as We Knew It, I rushed out and bought it, and it completely and utterly enveloped me. It was like post-apocalyptic Little House on the Prairie–all kinds of cracky goodness.
And now I can't wait to read this!
nutmeag
Wow, I'd forgotten about this series. I read (actually listened to at work, haha) the first book when it came out, but forgot to look out for subsequent books. Glad the 3rd one turned out well.
As for the coincidence of focal characters meeting, it helps to remember that the author is going to focus on characters that will eventually meet. It gives those different views about the same events that make the story interesting.
I do understand what you mean, though. I always feel it's contrived too, until I remind myself of what I just said. ;-) I'll have to search for these books next time I have time to read . . .
Maruma
I <i<LOVED "Life as We Knew It", although I had a harder time getting into "The Dead and Gone" oddly because they were so different from Miranda and her family? It was hard for me to get attached to Alex I dunno, but this book makes me want to pick it up again and give it another shot.
April 1, 2010 @ 11:18 am
@nutmeag: There was a big gap between the dead & the gone and this book, so it's easy to understand how it could have fallen off people's radar.
@Maruma: If the dead & the gone is too much of a slog, you can probably skip it and read this one with little problem.
July 31, 2010 @ 12:48 pm
Jia, I wanted to let you know that I finally read Life as We Knew It and really enjoyed it. I don't know if I loved it to the same degree that you did, because some things were head-scratching for me. I felt the members of Miranda's family could have done more to ensure their survival.
Why didn't they scavenge dead strangers' houses or houses that had been abandoned for food and supplies as others were doing? Why didn't they at least think about eating pet food when Miranda and her mom were on the verge of starvation?
Was it because the author wanted the characters to remain sympathetic? I don't know if that makes sense to me because when survival is at stake, I'd rather take something from a dead person who can't use it than let my loved ones die.
I also didn't understand why almost everyone isolated to the degree they did. In emergencies I think it makes more sense to band together, to pool resources and skills.
Miranda's initial immaturity did annoy me a bit (at first she seemed more like a fourteen year old than a sixteen year old), but she seemed to grow out of it by the end of the book.
Having said all this, I did find the book difficult to put down and certain parts of it made me very emotional. I'm very glad I read it and would give it a high B+.
I really want to read The Dead and the Gone and The World We Live In now.
@Janine: It's been a while since I read Live as We Knew It but they did scavenge from the old lady that died who'd been their neighbor. But really, I think the answer to your question lies in Miranda's immaturity. Remember, you're an adult thinking these things. An immature 16-year-old who's in denial about what's happening and is resentful about the family situation? Probably not going to think about it. Miranda wants to ice skate. There's a part of her that's still probably believes they can somehow, by some miracle, go back to the way things were before. That's my take on it anyway.
As for Miranda's mom, maybe she could have thought about it but then again, perhaps not. We can never know for sure though because the narrative is told through Miranda and all first-person narrators are, to a certain extent, unreliable.
@Jia: That's a good point about narrator unreliability. I didn't expect Miranda herself to think of scavenging from other dead people (besides the neighbor/friend) or abandoned houses, but I would have expected her older brother Matt to think of it and make her and her brother help him in doing it. Matt seemed very practical and survival-oriented. And so was her dad — he could have suggested the idea too. The mother was also focused on survival but maybe to a lesser degree, or in a different way?
It seems like something that someone should have thought of, especially as the food supplies were dwindling. I think the human drive to survive is so powerful; hunger and thirst overwhelm almost any need when they get bad enough. It feels to me like a copout on the part of the author not to go there, or at least have them eat some of the cat food before resigning themselves to death.
I think if the genre had been something other than young adult, with the same premise, the book might have gotten more gritty. I was also surprised that the gang never tried to steal from them, but maybe their isolation away from town helped with that.
Another thing that surprised me was that there wasn't more bartering with other people — trading firewood for food for example, or food for labor, or what have you. And it seemed like people used money for a while after I would have thought other commodities would have become more valuable than cash.
Also, if I had been Miranda's mom, I would have considered inviting Peter, the doctor boyfriend, to move in with me and my kids. A doctor is really handy to have around. It would have given Peter something to live for after the death of his daughters, too.
Plus I thought it was somewhat unrealistic that before the volcanoes blew and the sky became full of ash, Miranda's mom didn't make Miranda spend all day gardening or insulating the house. Miranda did do some weeding, but when you're preparing for that kind of survival struggle, there's so much to be done. As nice as it was to read about Miranda swimming and skating for fun, I think that was a luxury the family really couldn't afford.
But maybe the book would have been too grim had the story gone in some of these directions. It was pretty dark as it was, especially considering its intended audience. I wonder if the author sacrificed some believability in order to make the story more palatable.
@Janine: I do think a part of it is that we're really playing the part of the audience, the reader, looking in. These things that are obvious — more growing, more preparation, more whatever — wouldn't necessarily occur to other people. Yes, it's a disaster book but to the people a disaster happens to, it seems like the end of the world but you don't necessarily think or believe it's the end of the world. Humans are very strange creatures.
As for the other bit, I don't like speculating on authorial intent because I'm not the author and I'll never know but having read the other two books and bits of her blog while the writing of those two books? I don't think it was ever anything that deliberate, really. I think LAWKI was kind of a fluke. It's d&g and TWWLI that were more deliberate in their construction and I think it showed in those books because many things were far more contrived (IMO, anyway).


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text:
Lloyd Godson
Being a teacher was not in Lloyd Godson's life plan, but he could not be happier about the mid-life career change.
His old business cards described him as an adventurer. Working with the likes of the  Australian Geographic Society, and Dr Bob Ballard, who located the Titanic, he combined cutting-edge exploration science with intense physical challenges.
Lloyd now teaches Science, STEM and Marine Studies at Hastings Secondary College in Port Macquarie, NSW, inspired by the teachers he met in his former life. "I saw the way these educators worked with young people and the amazing things their students were able to achieve when given the opportunity and mentoring," he said.
He is passionate about getting students out of the classroom and into the community and the world. Calling on his professional networks, Lloyd runs scientific excursions to the Great Barrier Reef, and guides student underwater robotics teams to win international competitions. He knocks on doors in the local business community to fund these programs, determined that no student will miss out. He has also established a social business enterprise with his students – an onsite recycling project 'Precious Plastics', where plastic waste is converted into usable products that his students design and sell.
With a focus on real world learning underpinned by 21st century skills and student-centred practice, Lloyd is attracting more students to his classes and an increasing number of his students are pursuing higher learning and careers in science and environmental fields.
"Teaching has definitely been a meaningful and fulfilling career change for me," Lloyd says.


I'm running in the world's largest half marathon on Sunday in aid of our national lifeboat charity. Just £350 to reach my target, spread the word and my link and I'll be eternally grateful.
How do we know you are not a Nigerian prince trying to launder his fortune?
So far I've raised £1056, still got a sponsor form and a collection box to pick up, so the total will rise. My just giving page will remain open for another few weeks. here's a little thing I picked up for finishing.
Can S.Korea handle N.Korea alone?


text:
Овташен () — село в марзі Арарат, у центрі Вірменії. Село розташоване за 6 км на південь від міста Масіс, за 12 км на північний захід від міста Арташат, за 3 км на захід від села Мргавет та за 2 км на схід від села Норамарг.

Джерела
Національна статистична служба Республіки Вірменія

Арарат

redpajama_set_name: RedPajamaWikipedia


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(Xinhua) -- China's Permanent Representative to the United Nations Ma Zhaoxu on Friday called on parties concerned to remain calm and exercise restraint over the situation in Syria.
The current situation in Syria is perilous, Ma told a Security Council meeting requested by Russia, adding that it's at a crossroads of war and peace.
"We call on the parties concerned to remain calm, exercise restraint, refrain from any move that may lead to further escalation of the situation, solve the issue peacefully through consultation and dialogue," said Ma.
At this critical juncture, the Security Council should take up its responsibilities to build unity and consensus and do its utmost to prevent war, he said.
The pressing priority is to launch a comprehensive, objective and impartial investigation into reports of chemical weapons use in Syria so as to arrive at authoritative conclusions, he said.
China has consistently been in favor of peaceful settlement of disputes, and has been opposed to the use of force or threat of use force in international relations, he said.
"Unilaterally taking military action by circumventing the Security Council is inconsistent with the principles and purposes of the UN Charter and runs counter to the norms of international law and those governing international relations."
Syria's sovereignty, independence, unity and territorial integrity should be respected, he said.
China is convinced that there is no military solution to the Syrian issue and that the only way out is a political settlement, he said.
China supports the United Nations in playing an active role and calls on the international community to stick to diplomacy and the course of political settlement, give full play to the role of the United Nations as the main mediator, he said.
The situation in Syria has a bearing on regional and global peace and stability, has a bearing on the credibility and authority of the Security Council, said Ma, adding that China is ready to work tirelessly for peace and security in the Middle East and the world at large.
""China is ready to work tirelessly for peace and security in the Middle East and the world at large.""
by false rumors such as Weapons of Mass Destruction in Iraq back in the early 1990s.
Now it is another rumor that has the USA firing missiles in the Middle East.
The US has been tirelessly attacking the Middle East since oil was discovered there.
high tech outpost of delivering genocide to whichever Arabs they choose.
China is illegal too, Bobby. More so than Israel.
No little monkey. China has been in East Asia for millennia while Israel was created by Hitler, in cooperation with the US, to subjugate the Middle East in 1948. Plentiful cheap oil and a paradise for rich Zionists.
Look up the Haavara Agreement.
Thus genocide was provided by the Zionists and cheap oil flowed to the west.
It is pretty interesting that more than once when the Syrian government forces were about to land a decisive military victory against the rebels, alleged chemical attack arose.
Assad absolutely doesn't need to act so drastically when the victory is just around the corner, then who the real perpetrators are?
It is well-known that the White Helmets have long been a shady organization operating in Syria, with very dubious sponsors behind it.


text:
Home Hardware & Machines
Rostec Displays First Computers Based On Elbrus-8S Microprocessor
Russia showcases the first computer with its own Elbrus-8S processor
Russian state-owned technology Ruselectronics (part of Rostec State Corporation) demonstrated the first prototypes of personal computers and servers based on its own domestic Elbrus-8S microprocessors at the CIPR 2017 IT Conference in Kazan.
According to Ruselectronics, the Elbrus-8S processor will be equipped with up to eight cores, manufactured on a 28-nanometer process line. In contrast, the current-generation Intel Kaby Lake processors use a 14-nanometer process. Further, the Elbrus-8S processor is up to five times faster than the previous generation, Elbrus-4S and has a number of I/O channels that are eight times greater.
The Elbrus-8S utilizes the instruction set Elbrus 2000 and intended for computers running a customized Linux distribution, called Elbrus OS. The OS can perform not only the applications that are compatible with the architecture of the Russian chips, but also the sets of x86/x86-64 instructions.
Ruselectronics also confirmed that the new chip will have features that "ensure information security for users to a new level", although it did not specify what features and what would they do. The first PCs equipped with this new processor should be available in the market by the end of June.
"This is a new generation of our domestic computer technology. At all its stages, the assembly is carried out at our manufacturing sites and at the facilities of our domestic partners. All of this guarantees a high level of the equipment's information security," said Deputy CEO of Ruselectronics JSC Arseny Brykin. "We expect that the first pilot batch of personal computers based on the new processor will be produced by the end of the second quarter of 2017. Today at the CIPR conference in Innopolis, we present prototypes of the new equipment."
In recent years, Russia has invested in several technology projects so as to reduce its dependence on materials made in the U.S. and promote domestic products, which in turn would simulate its domestic economy as well as national security.
Source: TNW
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Franche-Comte /
Doubs /
Saltworks of Arc-et-Senans
Saltworks of Arc-et-Senans visitor guide
Search Arc-et-Senans hotels
Visit Saltworks of Arc-et-Senans, France
The Royal Saltworks is found south of Besancon, in the chaux forest in the Franche-Comté region of France. Construction of the Royal Saltworks began in 1775, on orders from Louis XV.
At this time salt was a very important commodity used for example in food storage, agriculture and glass production and medecine, and its production was a key industry in France. The building project was in part funded by a salt-tax that was added to the price of all salt sold in France, a tax that was extremely unpopular.
Salt production at Arc-et-Senans
The general principal was that salty water was sent to the Royal Saltworks from Salins-les-Bains, 20 kilometres away. The water was then evaporated, first in a large pool (no longer in existence) and then in large pans heated by burning wood from the surrounding forest, and the remaining salt collected.
The site was chosen because of the proximity of the forest - it was easier to transport the water here through pipes than to transport the wood to Salins-les-Bains.
Salt continued to be manufactured at the Royal Salworks of Arc-et-Senans until 1895, then the site fell to ruin until 1927 when it was bought by the local department. Several phases of reconstruction and renovation followed.
Explore the Royal Saltworks
The buildings funded by this salt tax are suitably grandiose, with the site set out as a semi-circle. The workers houses, the director's house (the most dominant building in the centre of the straight edge of the semi-circle), the buildings for the production of salt, and other related buildings such as the stables set around the edges of the semi-circle.
According to the designer, Claude-Nicolas Ledou, by having the workers living on site they would avoid the 'distractions' that might otherwise reduce their efficiency. Some of the buildings follow a simple classical, columned, design while others are more basic.
The welcoming appearance on the outside contrasts with the conditions in the buildings in which the workers actually prepared the salt. Within the directors house at the Royal Saltworks there is a large exhibition dedicated to explaining the history of the production and use of salt, from where it comes from to why it was always so important for world trade.
The buildings are surrounded by an extensive and very attractive series of gardens, and the whole site is listed as a UNESCO World Heritage Site.
Unusually for a UNESCO site, the Royal Saltworks of Arc-et-Senans is also open as a chambre d'hote: we have not yet had the chance to stay their ourselves but guests can stay in the buildings and see the nighttime illumination of the monuments and gardens. See accommodation at the Royal Saltworks for details.
A visit to the Royal Saltworks can be combined with a visit to Salins-les-Bains, where the salt mines can be visited.
You can find more travel ideas in the Doubs guide and the Franche-Comte guide.
Hotels in and near Arc-et-Senans
Arrange a visit to Saltworks of Arc-et-Senans
Hotels in Saltworks of Arc-et-Senans
Map of Saltworks of Arc-et-Senans and places nearby
Visit near Saltworks of Arc-et-Senans with France This Way reviews
The salt mines at Salins-les-Bains operated from the 13th - 20th century and are now an important local attraction and a UNESCO world heritage site
Salins-les-Bains guide
After exploring the old town centre in Arbois you can visit the scenic Cirque de Fer à Cheval nearby
Arbois guide
Chateau de Cleron
The gardens of the Chateau de Cleron can be seen next to the Loue River in the village of Cleron in Doubs
Chateau de Cleron guide
The Collegiale Church that dominates the town skyline is the principal attraction in Dole, and a stroll along the river banks
Dole guide
The highlight of your visit to Ornans is the section along the Loue river, crossed by old stone bridges and with lovely houses on the riverside
Ornans guide
The citadel, cathedral and some impressive 16th century townhouses are among the highlights to discover in Besancon
Besancon guide
... or see ALL recommended places to visit in Doubs
The French version of this page is at Saltworks of Arc-et-Senans (Francais)


Northern Beaches folk believe Outpost Espresso Collaroy is the crema of the crop for caffeine in their parts. Campos coffee is dispensed by cheerful staff and there is a tidy array of food too. Well stacked healthful sandwiches bulge invitingly from the cabinet, while the odd slice of sour cherry toast never go astray. This buzzy little cafe sometimes gets slammed by ravenous local surfers so get in quick for your fix.


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The Informed Illustrator
Information on Illustration Ideation, Execution, & Publication from an Illustrator's Perspective.
Arranging A Professional Illustration Portfolio
So now that you have prioritized a goal, or list of goals you would like to accomplish. And...you've decided what it is you would like your portfolio to do for you, in other words, you have a strategy in mind. And…you've selected the format, or formats, you feel you will need to be prepared to achieve your goals. And…you've taken advantage of resources that are available to provide the best portfolio formats for what you need. And…you have acquired the portfolios, equipment, software, output papers, etc. And…you have created a body of work to choose from, which actually was the first hard part. Now comes the next hard part, which is selecting and arranging the work you wish to present.
© 2013 Don Arday.
The proper arrangement of your work can have a profound effect on the reviewer who looks at it. So it is important to spend time selecting, revising, and reviewing the order in which you place your work. In galleries and museums there is actually a person who's job it is to do just that, the curator. You must think of your portfolio as a sort of traveling exhibition or gallery, with you taking on the job of a curator. Your portfolio will be putting on a show for the reviewers, whether you will be present as the master of ceremonies or not.
Coming up with the right arrangement for your work can be more difficult than it may seem. What makes it difficult is the fact that there are no hard and fast rules to doing it. However, there are some guidelines that can be quite helpful, and those guidelines ring true when it comes to how a portfolio is reviewed in reference to a reviewer's attention span. So forthwith are some suggestions and points to consider when arranging your work for your portfolio.
The display of subject matter is an extremely important consideration when sequencing work. Although color schemes, picture formats, and style traits will influence the opinion of a reviewer, subject matter, a.k.a. image content, is the number one center of their attention. A reviewer will examine all aspects of the illustrations for their content. For realistic illustrations, they will note the figures or characters shown; how they are dressed; their posture and expression; the setting they are placed in; the objects that are situated within the setting; the attitude, mood, and atmosphere that is being visualized; the narrative the illustration is communicating; etc. For more stylized, non-figurative, or technical forms of illustration, reviewers will focus on composition; the representation or stylization of forms; the choice of elements or objects included; the juxtaposition of objects; if idea based, the concept the illustration is communicating; etc.
Depending on what the overall desired purpose of the portfolio may be, the selection and arrangement of subject matter can vary greatly. Still, for general showing situations it is best to include a range of subjects and settings. Alternatively, showing illustrations produced for different clients or purposes is another way to show a range of imagery. Even in situations where an illustrator's work is extremely specialized, it is possible to present it to its best advantage by separating like images from one and other in the portfolio sequence. It is particularly important to avoid any kind of qualitative comparison. For example, let's say that an illustrator has two portraits of famous musicians in their portfolio. If the portraits are shown adjacent to one and other, or one after the other, a reviewer will invariably pass judgment on them by picking the one they feel to be most successful, thus diminishing the value of the other one. It is also important to avoid any quantitative figuring. In other words, avoid giving a reviewer the opportunity to note that your portfolio has five of one type of illustration and only one of another type.
Color schemes are an important indicator of the visual range that an illustrator possesses. So an illustrator that uses the same color palette over and over again will be less attractive than one that shows versatility when it comes to color usage. Now, as illustrators and artists, we are predisposed to favor certain color and color treatments, and that is perfectly alright, but when it comes to the arrangement of works in a portfolio, there is no need to overemphasize this by, lets say, placing all the cool colored pieces together, and likewise grouping all the warm colored ones, or any other specific color schemed works together in the portfolio. By disbursing the order of works with similar color palettes, a portfolio can appear to present a greater range of breadth concerning color. If works that use a similar color palette are shown in an adjacent order, a reviewer will get the impression that the illustrator has a distinct color bias.
Series Works
A series is comprised of two or more illustrations produced for one assignment, like a brochure, a storybook, an editorial article; or illustrations produced for a set of like assignments, such as a book jacket series, poster series, etc. There are two common misconceptions when it comes to showing an illustrated series in a portfolio. The first is that the entire series must be shown, and the second is that the series must be shown together and in order. Almost invariably, a series, and especially a series that is comprised of several pieces, is going to have one or more pieces that are not as successful as others in the series. Although the thought of editing a series is a hard pill to swallow, it will not only strengthen the appearance of the series, but also the look of the overall portfolio.
Even harder than editing a series down to its best pieces, is the notion of splitting up the series when sequencing the works in a portfolio. A series shown all together has a tendency to interrupt the natural progression of how a reviewer moves from one illustration to another. Also, a series of work shown together is apt to become a dominating part of a portfolio, its own section so to speak. I have seen portfolios that contain 15 pieces total that included two series of 4 pieces each. Shown in succession it called attention to the fact that the illustrator was only presenting 9 assignments. In this instance, the progression of work in the portfolio would have appeared much more even by splitting up one or both of the series.
Style Traits
Many illustrators have a style, and within that style there is usually a range of variation. This is only natural since as illustrators we are constantly striving to improve on our craft. These subtle variations that occur naturally in the work should be recognized and considered when arranging a portfolio. One example of a stylistic variant could be an evolution of the color palette that an illustrator uses. Another may involve a deliberate stylistic adjustment to suit the display space an illustration is produced for, e.g., simplifying a color palette for an illustration that will be published on the web, or using a higher keyed color scheme with less detail for an illustrated logo. It is perfectly acceptable for marketing reasons to include these types of variants in a single portfolio.
For young illustrators who are still exploring several manifestations of their style, it is particularly important to present work that embodies this exploration in a manner that actually emphasizes its variety. This also applies to service illustrators who work in many styles.
There are three choices regarding the page orientation of a portfolio; 1) landscape; 2) portrait; or 3) a square. The rule of thumb is to go with the picture orientation that is most predominant in your work. So, if you do a lot of full-page editorial work, the portrait format is probably best. If you illustrate scenic landscape settings then the landscape format will work best. The idea behind choosing an orientation is to allow for each image to be displayed at a respectable size. That may be all well and good, but which orientation should you choose if your illustrations are both portrait and landscape in nature? The simplest solution would be to go with a square shaped portfolio. It may be the simplest, but from a practical standpoint it isn't the easiest. A square portfolio would most likely have to be custom built, and digital displays, like tablets, simply aren't made to be square, so for reasons of practicality, most illustrators choose either portrait or landscape.
Having made the choice one way or another, work that doesn't match the orientation of the portfolio is somewhat compromised when seen in the wrong setting. For instance, a landscape-oriented illustration that is displayed on a portrait-oriented page will appear much smaller and somewhat less significant than the portrait illustrations that fit the format so well. There are two alternatives to correct this situation; 1) make all the portrait illustrations smaller to match the size of the landscape illustrations; or 2) position the landscape oriented illustration on its side. This will require the portfolio to be turned by a reviewer to view the landscape piece. Obviously, neither is a great solution. I recommend the second alternative, and here's why. The illustration is more important than the portfolio, in other words the most important consideration is to make the illustration look the very best it can. By turning it sideways, the illustration can be shown at the same scale as the other portrait-oriented works, and it will be larger and more impressive on its individual page.
Nitty-Gritty Considerations
In addition to the overriding arrangement considerations that have already been discussed, there are a number of other considerations that are nonetheless as important.
1. The scale areas of the illustrations displayed should approximate one and other. Since nearly all illustrations have different proportional dimensions, this may require size adjustments to individual illustrations to make them appear consistent. Illustrations that appear larger will also be interpreted as having more importance.
2. Illustrations that are displayed adjacently, or that follow one after the other, should compliment each other. Strive to achieve some sort of visual or contextual transition.
3. Illustrations should be displayed at a respectable scale. White space or border should not dominate the "real estate of the page".
4. Original artwork should never be incorporated into a portfolio. However, an original or two can accompany a portfolio when there is an in-person interview.
5. Illustrations should be accompanied by, but not dominated by, text that provides information about the illustration to support it for situations when you are not present.
6. The name of the illustrator should be on each page or file in case a reviewer removes individual illustrations from the portfolio.
7. Logos or identity imagery that appears on a page along with an illustration should be treated in a manner whereby it does not compete or diminish the illustration it accompanies. A small graphic or monogram can work to reinforce branding, but if too large or placed improperly, it can also cause a visual distraction.
8. Limit the number of orientation changes, or turning of the portfolio that may be required on the part of the reviewer. In other words, group several portrait or landscape oriented illustrations together to minimize turning. Note: For digital tablets, it may be advisable to lock the page orientation so the images will remain in one constant position.
9. Know whether the choice of illustrations and their arrangement in the portfolio will have to be changed frequently, or can remain constant. Some illustrators create different arrangement schemes to suit different types of interviews or clients.
10. Be very selective, "less, is more". If two or more illustrations are demonstrating a particular subject, then consider choosing only one of them to represent it. The same goes for demonstrating certain skills, showing specific clients, etc.
11. Smaller illustrations, like spot illustrations, should be grouped together on one page provided they relate to, or compliment one and other.
Some Handy Arrangement Tips
1. Lay the illustrations out in a space that will allow them to be seen all at once to view them gallery style. It will be much easier to arrange and see how individual illustrations coordinate with one and other.
2. For purposes of analysis only, group illustrations by category, either by subject, color, style, series, or orientation, to recognize the similarities and differences among the illustrations.
3. After arranging the illustrations in order from beginning to end, reverse the order, and then review your choices again.
4. Go through the exercise of forcing yourself to eliminate one piece from your portfolio. By doing this, you can identify a work that may be unsuitable, or the first one to be replaced when you introduce a new illustration.
5. Consider sectioning for organizational purposes. This works well for portfolios that contain many pieces. Sections such as magazine, advertising, book, etc. could be established to help a portfolio appear easier to review and more organized to a reviewer.
Posted by The Informed Illustrator at 10:17 PM
malcom May 20, 2019 at 12:52 AM
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There is a Children's Lesson Offered for kids ages 3 to 6 year old following the break time during our worship service.
Activity sheets and crafts are offered for children that are too old to be in the nursery. Look for them during the greeting time at the back of the sanctuary.