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Defines 8 classes

TestOfParallelRegex:: (7 methods):

  testNoPatterns()

  testNoSubject()

  testMatchAll()

  testCaseSensitive()

  testCaseInsensitive()

  testMatchMultiple()

  testPatternLabels()

TestOfStateStack:: (3 methods):

  testStartState()

  testExhaustion()

  testStateMoves()

TestParser:: (3 methods):

  accept()

  a()

  b()

TestOfLexer:: (3 methods):

  testEmptyPage()

  testSinglePattern()

  testMultiplePattern()

TestOfLexerModes:: (5 methods):

  testIsolatedPattern()

  testModeChange()

  testNesting()

  testSingular()

  testUnwindTooFar()

TestOfLexerHandlers:: (1 method):

  testModeMapping()

TestOfSimpleHtmlLexer:: (8 methods):

  createParser()

  testNoContent()

  testUninteresting()

  testSkipCss()

  testSkipJavaScript()

  testSkipHtmlComments()

  testTagWithNoAttributes()

  testTagWithAttributes()

TestOfHtmlSaxParser:: (12 methods):

  createListener()

  testFramesetTag()

  testTagWithUnquotedAttributes()

  testTagInsideContent()

  testTagWithInternalContent()

  testLinkAddress()

  testEncodedAttribute()

  testTagWithId()

  testTagWithEmptyAttributes()

  testComplexTagWithLotsOfCaseVariations()

  testXhtmlSelfClosingTag()

  testNestedFrameInFrameset()

Class: TestOfParallelRegex  - X-Ref

testNoPatterns()
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testNoSubject()
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testMatchAll()
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testCaseSensitive()
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testCaseInsensitive()
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testMatchMultiple()
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testPatternLabels()
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Class: TestOfStateStack  - X-Ref

testStartState()
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testExhaustion()
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testStateMoves()
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Class: TestParser  - X-Ref

accept()
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a()
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b()
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Class: TestOfLexer  - X-Ref

testEmptyPage()
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testSinglePattern()
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testMultiplePattern()
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Class: TestOfLexerModes  - X-Ref

testIsolatedPattern()
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testModeChange()
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testNesting()
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testSingular()
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testUnwindTooFar()
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Class: TestOfLexerHandlers  - X-Ref

testModeMapping()
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Class: TestOfSimpleHtmlLexer  - X-Ref

createParser()
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testNoContent()
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testUninteresting()
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testSkipCss()
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testSkipJavaScript()
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testSkipHtmlComments()
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testTagWithNoAttributes()
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testTagWithAttributes()
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Class: TestOfHtmlSaxParser  - X-Ref

createListener()
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testFramesetTag()
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testTagWithUnquotedAttributes()
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testTagInsideContent()
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testTagWithInternalContent()
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testLinkAddress()
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testEncodedAttribute()
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testTagWithId()
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testTagWithEmptyAttributes()
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testComplexTagWithLotsOfCaseVariations()
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testXhtmlSelfClosingTag()
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testNestedFrameInFrameset()
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Generated: Thu Oct 23 19:15:14 2014
	Cross-referenced by PHPXref 0.7.1


Mario Setiawan has a strong passion for real estate, and with his over 10 years of real estate experience, his passion comes with an incomparable knowledge of the real estate industry.
In addition to his many years of experience, Mario holds Bachelor's Degree in Business Marketing and has his license in Victorian real estate, further proving his prowess in the real estate market on a global level.
To Mario, all clients, partners, and employees deserve the same respect. And due to his reputation of honesty and integrity, his trust among his clients has only grown, making him an elite member of the real estate industry.
Mario has built his strong client base through his hard-work and dedication to both local and overseas clients, specifically those interested in buying or selling property in Melbourne. It is his enthusiasm and dependability for real estate, of all types, that keep his clients coming back to work with him again.


text:
El Regimiento de Infantería de Montaña 21 «Teniente General Rufino Ortega» (RIM 21) es una unidad del Ejército Argentino.

Su lema es «escuela de hombres».

Historia

Organización
El Regimiento de Infantería de Montaña 21 fue creado el 19 de agosto de 1937.

En 1960 el I Batallón se convirtió en Regimiento y cuatro años después se trasladó a Las Lajas.

En 1997 el RIM 21 fue desactivado.

El 1 de enero de 2005, mediante resolución del jefe del Estado Mayor General del Ejército, teniente general Roberto Bendini, se reactivó el RIM 21.

En operaciones
El Regimiento de Infantería de Montaña 21 integró el Agrupamiento B que se desplazó a la provincia de Tucumán por orden del Comando General del Ejército para reforzar la V Brigada de Infantería que llevaba adelante el Operativo Independencia. El Agrupamiento B se turnaba con los Agrupamientos A y C, creados para el mismo fin.

Entre los años 1975 y 1977, el Regimiento 21 participó en Bahía Blanca de diferentes operaciones del terrorismo de Estado en Argentina.

Patrón

El nombre del regimiento homenajea al teniente general Rufino Ortega, militar argentino.

Véase también

 Regimiento de Infantería de Montaña 10
 Regimiento de Infantería de Montaña 26

Referencias

Regimiento 21
VI Brigada de Montaña
Fuerzas Armadas en la provincia de Neuquén
Unidades militares creadas en 1937

redpajama_set_name: RedPajamaWikipedia


Zak first became aware that the F&G facility at 184 Municipal Road in Waterbury was a problem while he was participating in an Earth Day cleanup in May 2017 with members of the Waterbury Greenway Committee. The F&G facility is on a slope and whenever it rains water flows through mounds of construction debris, down a driveway, across Municipal Road, down a steep embankment and into the Naugatuck River.
The debris members of the Waterbury Greenway Committee discovered at F&G.
The group found plastic, construction debris, thousands of chips of paint and a bowling ball that had flowed out of the F&G facility and down an embankment towards the Naugatuck River. The group contacted Waterbury Mayor Neil O'Leary and he came down on a Saturday morning and ordered a police report about the incident.
The F&G facility at 184 Municipal Road in Waterbury is 40 feet from from the Naugatuck River.
Storm water filters through mounds of debris and carries toxins into the Naugatuck River.
Waterbury detectives filed a report and contacted the Connecticut Department of Energy and Environmental Protection (DEEP) to follow up. Days later two bales of hay were placed near the exit of the F&G facility to halt further pollutants from flowing into the river, but the bales were temporary, and their placement was ineffective.
After filing the police report Zak, the president of the Naugatuck River Revival Group, waited to see if any structural changes were made at the facility.
Zak sent a letter last week to Frank and Gerald Antonacci to formally announce his intent to sue the F&G owners under the Federal Clean Water Act, the Resource Conservation and Recovery Act and Connecticut General Statues.
Additionally Zak intends to sue the various companies that the Antonacci brothers do business under; Municipal Road Transfer Center LLC, 260 Railroad Hill LLC, F&G LLC, USA Hauling and Recycling Inc., All American Waste LLC, and Murphy Road Recycling LLC.
The Antonacci brothers are the owners of the waste transfer station at 260 Railroad Hill in the South End of Waterbury that is in the final stages of gaining a DEEP permit to expand their activities from sorting construction debris to hauling all household garbage in Waterbury. Despite a city settlement that allowed the company to proceed, there is fierce opposition in the South End to the proposal. A public hearing is scheduled for June 12th at 6 pm inside Waterbury City Hall.
Zak spent a day inside DEEP headquarters last week investigating the various companies that have done business at 184 Municipal Road and discovered violations at the facility that stretched back two decades.
Kevin Zak spent a day researching F&G violations at DEEP headquarters in Hartford.
Zak discovered that the F&G facility at 184 Municipal Road had two decades of violations.
Zak was legally required to send a notification letter of his intent to file a citizens suit in federal court, and if the conditions are not remediated within 60 days, he will move forward with a formal lawsuit.
Zak is suing on behalf of the members of the Naugatuck River Revival Group who, "frequently spend time in the Naugatuck River documenting the wildlife" and participating in river cleanups and canoe and kayak races.
Zak has attempted to find an environmental lawyer to file suit against the chronic polluters of the Naugatuck River, but there is little money in the endeavor and he could find no lawyer interested.
Zak began his river crusade more than a decade ago with the simple act of picking up litter.
There is poetic symmetry to Kevin Zak's latest attempt to improve the quality of the Naugatuck River. He began by picking up litter piece by piece, and now a decade later he has discovered a tool to go after pollution at its source.


According to Variety YouTube has removed certain Oscar related videos. The rub: They are all back.
Search on those same videos today and you'll find plenty of musical numbers that were removed the night before.
What happened? The Academy requested certain videos be removed. YouTube users then uploaded new ones. Beyonce is back. So is Jack Black and Will Ferrell.
So now what? The Academy could request the specific videos be taken down again. YouTube could remove more. And users can add them back. Quite the circle.
It's a war the Academy and ABC can't win unless they sue to ban all Oscar videos from YouTube. And if you're ABC and you need online ad revenue to make up for weak ratings may not be a bad idea. Mark Cuban may have a craftier idea though.
Viacom, CBS and maybe ABC could be off YouTube. Next stop is likely to be a courtroom.


Have your eyesight been looking a little tired lately Internationally renowned make-up artist Trish McEvoy's favourite remedy for puffy eyes is just place only two spoons the actual world freezer just the summer minutes. When the spoons get cold, she places them on the bags of her eyes. Immediately following this, she applies an under-eye cream for an instant moisturizing burst. To brighten eyes, always wear mascara so eyes exceed. Once this is done, try lining the inner lower rim of eye sight with white eyeliner.
Don?t forget to exercise or skin color will sag. Working your cardiovascular system and building muscle tone is important but always remember to also exercise your insides. Tie Chi and Yoga squeeze you intestines, liver, and gallbladder. Tie Chi and Yoga are perfect for this; they move your insides around and work your organs together. Your insides feed you skin and should your insides are not healthy your skin will not be healthy.
Environment: The and inside environment in places you spend your days make a difference your skin in ways. The sun being take in. UVA/UVB rays associated with lots of injury to skin down to the deeper collagen layers. Because of the great sunscreen choices available, there is very little reason not to protect your skin. Wind can dry and chap skin tone and smog can leave a thin layer of dirt on top of your skin; so make sure you moisturize and keep skin clean. Even air-conditioning and heating can impact on the health of pores and skin.
Make homemade skincare products; shaving cream, directions below, skin scrub within a manly scent or soap made in unique molded shape. An art store like https://unbelievablebeautytips.yolasite.com/ Pat Catan has wide selections of molds, candy molds would work well.
Most soap makers will say that that amazing creamy and bubbly lather, moisturizing and conditioning properties. Using castor oil is quite a few fatty acids, soothing and lubricating for skin. It's usually, found hair oils, balms because thick emulsions for the hair and peel. It can be used as a soap making oil, but should be utilized carefully.
Also, might change be mind bender questions such as, the term "get your goat" technique. or the word "scapegoat" means.? Just try to decide on the correct answer. Do not worry, all of the correct answers are given, after playing, and also that are assured to know the facts.
The problem could lie inside the facial cleansing products that you'll using. Although may fit nicely for your T-zone, the chemicals inside this product may truly be removing too much of the natural oils from with the rest of your run into. That is the evil of manufactured skin care goods. Anyway you appear at it, it is actually impossible to obtain a completely natural face lift cream made from pure organic ingredients. They should add some chemicals in an effort to stabilize and preserve the merchandise for its own shelf lifestyles.
The neatest thing you has the potential to design your skin look young and healthy would moisturize the game. And we don't just mean moisturize it from the outside, but from regarding. Drink at least 8 to 10 portions of water every to keep the skin looking supple and young. If you've ever worked with models or actresses, youwill see which of them never venture out without packing a bottle of water, and keep sipping the particular day. Pair this with regular implementation of moisturizer, and you're all specified.


text:
The off-topic forum
Gordon Brown Still A Moron
By Thunderbird 900, March 27, 2011 in The off-topic forum
Location:North of London
http://www.dailymail.co.uk/news/article-1370343/Pregnant-woman-told-seat-Gordon-Brown-fly-BA-Club-Class.html
Bossybabe
Location:rich mans house
Why is Brown, a backbencher MP, racketing around the world earning extra money when parliament is still sitting? Most of us would lose our jobs if we did 2nd jobs while we should be working.:angry:
As to the 'bumping' of passengers from 1st Class - shouldn't BA have a better way of ensuring they're not overbooked in this computerised age? Like saying 'no' when Brown and his party booked. I don't believe BA when they say that Broon et al didn't cause the problem. A swift investigation of the number of people bumped and the number in Gorgon Broon's party should clear that one up.
The worst thing about Brown is that he exists.
Riedquat
Anything that keeps him out of the country is arguably a good thing, it's just a pity it didn't happen more often when he was PM.
Mr Brown was travelling back from Abu Dhabi after giving a lecture to students at the New York University campus in the country.
The former PM has been appointed by the university as a £70,000-a-year 'distinguished global leader in residence'.
How many lectures does he have to give to earn £70k a year?

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Uploading to cloud storage from remote location (https address) I want to upload a dataset(zip file, 200mb) to google cloud storage without saving it locally (ideally using command line interface). In other words, I want to use https address to upload a file from remote location.
I tried to use

*

*gsutil, but looks like it only works with local files --
documentation

*Transfer service console -- I get UNKNOWN errors

Errors UNKNOWN: (showing 1 of 1 failures) Object: http_list_0 Details:
  Unknown error. UNKNOWN: (showing 1 of NaN failures) Object:
  http_list_0 Details: Unknown error. UNKNOWN: (showing 1 of NaN
  failures) Object: http_list_0 Details: Unknown error.

Any suggestions are greatly appreciated.

redpajama_set_name: RedPajamaStackExchange


text:
Таптана́й () — село у складі Дульдургинського району Забайкальського краю, Росія. Адміністративний центр Таптанайського сільського поселення.

Населення
Населення — 794 особи (2010; 840 у 2002).

Національний склад (станом на 2002 рік):
 буряти — 83 %

Джерела

Примітки

Посилання
 На Вікімапії

Населені пункти Дульдургинського району
Села Забайкальського краю


text:
BEPC, Inc. South San Francisco, CA
Quick Apply Contractor
Research Associate/Senior Research Associate, In Vivo
Ascent Services Group South San Francisco, CA
Molecular Biology Sr. Research Associate
CyberCoders Menlo Park, CA
Senior Research Associate: Flow Cytometry and Immunology (Menlo Park, CA)
Kelly Services Menlo Park, CA
Senior Research Associate
Sutro Biopharma, Inc. South San Francisco, CA
Research Associate/ Senior Research Associate, Next Generation Sequencing
Federation Bio South San Francisco, CA
Sr. Research Associate, In Vitro Pharmacology
Ascent South San Francisco, CA
Sr Field Research Analyst
CBRE San Francisco, CA
Research Associate: In Vivo Pharmacology (South San Francisco, CA)
Kelly Services South San Francisco, CA
Senior Research Associate/ Research and Innovation LeadNew!
SWA Group San Francisco, CA
Research Associate - Senior Research Associate, In vivo Pharmacology
Surrozen South San Francisco, CA
Research Associate/Senior Research Associate/Scientist- Translational Sciences
Encoded Therapeutics South San Francisco, CA
Senior Research Associate, IVD
Guardant Health Redwood City, CA
Research Associate INew!
Zolon Tech South San Francisco, CA
Senior Research Associate, Discovery Biology, AAV Vector Production and Characterization
Audentes Therapeutics South San Francisco, CA
Senior Research Assiociate/Research Associate - Protein Chemistry
Evotec South San Francisco, CA
Research Associate II - Biomarker Oncology
Tailored Management South San Francisco, CA
Senior Research AssociateNew!
Personalis, Inc. 94026, CA
Senior Research Associate/Research Associate II
Research Associate / Senior Research Associate, Protein Expression/Purification
Ab Studio Inc. Hayward, CA
Expired: 17 days ago. Applications are no longer accepted.
The Senior Research Associate develops, optimizes, validates and implements immunoassays to measure therapeutic drug levels, to detect and characterize anti-therapeutic immune responses, to measure biomarkers, and/or to generate in vitro characterization data in support of pre-clinical and clinical studies. This will involve manual laboratory work, the use of automation systems and various assay platforms, and participation in compliance and safety related activities. All RAs in ADT are expected to contribute to departmental activities, laboratory upkeep and maintenance, and they may also be expected to help train colleagues. This proactive individual works in a fast-paced environment with a high degree of autonomy to design experiments, interpret data and troubleshoot technical problems, write and review technical reports, and present and interpret data at cross-functional project team meetings. This individual is expected to become a resource for a recognized area of technical expertise within the department. This individual may also be expected to mentor more junior Research Associates, to lead the investigation and assessment of new technologies, and/or represent BAS on cross-functional teams, as well as lead cross-functional technical teams.
Familiarity with biochemistry, cellular and molecular biological methods is essential, along with a track record of solving complex bio analytical problems. Experience with developing ELISAs and/or immunochemistry is an advantage. A practical knowledge and understanding of standard laboratory procedures and computerized data handling is also essential. Excellent written and verbal communication, interpersonal, multi-tasking and organizational skills are required. This individual should be able to work autonomously as well as with a group, handle multiple projects, and demonstrate initiative and creativity.
B.S. or M.S. in Biological Sciences or equivalent with 5 – 8 years hands-on laboratory experience in industry developing bio analytical methods.
search Associate is a highly motivated individual who participates in the characterization of biopharmaceuticals in the product development pipeline. The Senior Research Associate develops, optimizes, validates and implements immunoassays to measure therapeutic drug levels, to detect and characterize anti-therapeutic immune responses, to measure biomarkers, and/or to generate in vitro characterization data in support of pre-clinical and clinical studies. This will involve manual laboratory work, the use of automation systems and various assay platforms, and participation in compliance and safety related activities. All RAs in ADT are expected to contribute to departmental activities, laboratory upkeep and maintenance, and they may also be expected to help train colleagues. This proactive individual works in a fast-paced environment with a high degree of autonomy to design experiments, interpret data and troubleshoot technical problems, write and review technical reports, and present and interpret data at cross-functional project team meetings. This individual is expected to become a resource for a recognized area of technical expertise within the department. This individual may also be expected to mentor more junior Research Associates, to lead the investigation and assessment of new technologies, and/or represent BAS on cross-functional teams, as well as lead cross-functional technical teams.
Familiarity with biochemistry, cellular and molecular biological methods is essential, along with a track record of solving complex bioanalytical problems. Experience with developing ELISAs and/or immunochemistry is an advantage. A practical knowledge and understanding of standard laboratory procedures and computerized data handling is also essential. Excellent written and verbal communication, interpersonal, multi-tasking and organizational skills are required. This individual should be able to work autonomously as well as with a group, handle multiple projects, and demonstrate initiative and creativity.
Education: B.S. or M.S. in Biological Sciences or equivalent with 5 – 8 years hands-on laboratory experience in industry developing bioanalytical methods. .
BIOANALYTICAL
Additional Skills:
LABORATORY MAINTENANCE
SELF MOTIVATED
BEOCS
BEPC, Inc.
Great Benefits and Opportunity for Growth
BEPC provides Technical Engineering and Information Technology Project Management services to Fortune 500 companies in the Life Science and 7technology industries. BEPC Inc. is incorporated in the state of Texas, with headquarters in San Angelo, Texas, and is a minority and HUB-certified Company recognized through the National Minority Supplier Development Council. BEPC offers Life Science engineering and technical consulting services that include: process, product, equipment, and software validations, process and product transfers, commissioning and qualification of manufacturing clean rooms, clean room automation, packaging engineering, labeling and document translation, technical writing, and process automation. Additionally, as a leading IT consulting company, BEPC offers enterprise resource planning, large-scale technology deployment and integration, SAP development, information assurance, network architecture, and project management. As a direct supplier with large MSPs, BEPC offers its clients highly qualified candidates to fill professional, technical, information technology and manufacturing engineering positions. These large staffing companies leverage BEPC's expertise to fill highly technical positions for their clients.
South San Francisco, CA
http://www.bepcinc.com
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text:
Spirembolus is een geslacht van spinnen uit de familie hangmatspinnen (Linyphiidae).

Soorten
De volgende soorten zijn bij het geslacht ingedeeld:
 Spirembolus abnormis Millidge, 1980
 Spirembolus approximatus (Chamberlin, 1949)
 Spirembolus bilobatus (Chamberlin & Ivie, 1945)
 Spirembolus cheronus Chamberlin, 1949
 Spirembolus chilkatensis (Chamberlin & Ivie, 1947)
 Spirembolus demonologicus (Crosby, 1925)
 Spirembolus dispar Millidge, 1980
 Spirembolus elevatus Millidge, 1980
 Spirembolus erratus Millidge, 1980
 Spirembolus falcatus Millidge, 1980
 Spirembolus fasciatus (Banks, 1904)
 Spirembolus fuscus Millidge, 1980
 Spirembolus hibernus Millidge, 1980
 Spirembolus humilis Millidge, 1980
 Spirembolus latebricola Millidge, 1980
 Spirembolus levis Millidge, 1980
 Spirembolus maderus Chamberlin, 1949
 Spirembolus mendax Millidge, 1980
 Spirembolus mirus Millidge, 1980
 Spirembolus monicus (Chamberlin, 1949)
 Spirembolus monticolens (Chamberlin, 1919)
 Spirembolus montivagus Millidge, 1980
 Spirembolus mundus Chamberlin & Ivie, 1933
 Spirembolus novellus Millidge, 1980
 Spirembolus oreinoides Chamberlin, 1949
 Spirembolus pachygnathus Chamberlin & Ivie, 1935
 Spirembolus pallidus Chamberlin & Ivie, 1935
 Spirembolus perjucundus Crosby, 1925
 Spirembolus phylax Chamberlin & Ivie, 1935
 Spirembolus praelongus Millidge, 1980
 Spirembolus prominens Millidge, 1980
 Spirembolus proximus Millidge, 1980
 Spirembolus pusillus Millidge, 1980
 Spirembolus redondo (Chamberlin & Ivie, 1945)
 Spirembolus spirotubus (Banks, 1895)
 Spirembolus synopticus Crosby, 1925
 Spirembolus tiogensis Millidge, 1980
 Spirembolus tortuosus (Crosby, 1925)
 Spirembolus vallicolens Chamberlin, 1920
 Spirembolus venustus Millidge, 1980
 Spirembolus whitneyanus Chamberlin & Ivie, 1935

Hangmatspinnen


text:
15,000 sq ft :
US (CO): Aspen cannabis greenhouse near Basalt wins county approval
The Pitkin County Commissioners on Wednesday approved an application for a 25,000-square-foot marijuana greenhouse complex outside of Basalt that will supply the Silverpeak Apothecary, an Aspen-based medical marijuana dispensary. The commissioners gave applicant Jordan Lewis and his Cooper Mason Ventures permission to build about half of the greenhouse space they had originally requested. Lewis' initial application was for 55,600 square feet of indoor growing area, and he later scaled it down to 37,500.
Based on figures that Lewis' design team provided to the commissioners, the approved facility will accommodate around 1,800 fully grown pot plants, and perhaps more.
The permitted size of the greenhouses, Lewis said, makes it financially feasible to install all the necessary infrastructure, including heating, irrigation and landscaping features that are meant to help the buildings blend into the midvalley landscape. If all goes well, Lewis said, he hopes to come back to the county down the line for permission to install more growing space.
Lewis plans to build on a 4.7-acre site that neighbors the Roaring Fork Club and sits directly across Highway 82 from the homes and businesses of Holland Hills. The land is zoned for agricultural use and divided into 10-acre parcels, but it's surrounded by numerous businesses, including a landscaping company, a rug showroom and a medical marijuana dispensary.
In a memo to the commissioners, county planner Mike Kraemer wrote that a greenhouse of 15,000 square feet would be more appropriate for the proposed site. That reduced size was based on concerns about scenic views from Highway 82 and an interpretation of the area's 10-acre agricultural zoning, he said.
The greenhouse will be heated with natural gas
Source: aspendailynews.com
Publication date: Fri 30 Aug 2013


Embroidery, embellishments and prints, the details that once gave garments their individuality, are produced and consumed en masse today, and while this so-called democratization of fashion has largely been welcomed, many of us are now increasingly wanting something more unique for our wardrobes.
The growing backlash against homogenization, which extends to homewares too, has been one of the reasons behind certain brands now putting craftsmanship at the forefront of their thinking. But for others, tapping the talents of artisans in developing countries comes from a more philanthropic starting point.
Here we profile three companies who through their support of local communities are able to provide workers with a steady income to support their families and foster new businesses, as well as protect often-ancient craft and design traditions.
The Little Market was founded by former reality TV star Lauren Conrad and her long-time friend Hannah Skvarla, who met while studying at California's Fashion Institute of Design & Merchandising (FIDM). Launched in 2013, the Fair Trade accredited non-profit now works with more than 40 artisan partners in over 20 countries, connecting them with customers worldwide through a dedicated online marketplace.
Showcasing handmade goods that have been crafted by local artisans using traditional skills and techniques, The Little Market's mission is to empower women from disadvantaged communities to rise above poverty. Customers have the opportunity to purchase ethically sourced one-of-a-kind pieces, while artisans earn a fair wage and generate a means to support their families. And working through cooperatives and social enterprises, the organization also offers their artisans access to adult literacy classes, business training and micro loan programs, and family healthcare.
It was during trips to Bali in 2010 and El Salvador in 2011 that Conrad and Skvarla first witnessed the lack of financial stability and independence local women were experiencing. But it was the following year when the seed for The Little Market was firmly sewn. "We had the incredible opportunity to visit organizations in Tanzania and Uganda that were working with female artisans and entrepreneurs who were struggling to make ends meet," Skvarla told Forbes. "It was in the midst of these travels that we were inspired to create The Little Market," she went on to explain, and with an extensive background working in human rights Skvarla runs the business side of the company, while Conrad focuses on design and marketing.
Traditional woven huipils worn by Mayan women in Guatemala are repurposed into one-of-a-kind bags and cases.
The site sells everything from one-of-a-kind woven purses by Mayan women in Guatemala, to throws handmade in El Salvador and ceramics crafted in Morocco. The website also serves as a platform to tell the stories of the artisans, and provides an insight into their home countries.
Founders Jessica Macias and Ana Caufman spent almost three years working on their concept to make artisan crafts more accessible before finally launching Maison Numen in 2016. The pair now travel the world seeking out art and objects from highly skilled makers and innovative designers to not only showcase their work on their website, but the cultural stories behind the pieces too. And it's this authenticity and transparency that is crucial to the Maison Numen brand.
It was when Macias began collecting her own art and objects, prompted by a change in career from international finance to interior design, that provided the inspiration for Maison Numen. "I saw so many beautiful pieces being created, and always with such interesting stories to tell, and I wanted to share this with the world," she told The Telegraph. And joining forces with friend and fellow Venezuelan Caufman, who was a well-travelled curator in her own right, the duo set about realizing their idea.
Their inaugural collection focused on Latin America. Entitled 'Latin Animae Vol 1' it featured 193 pieces, including textiles, woodwork and ceramics, from 35 designers and artisans hand crafted in Venezuela, Mexico, Guatemala, Peru and Colombia. The co-founders met all the makers in person and spent time with them as they worked. "Direct human contact makes all the difference here, and it's very important to us that they match with our concept and values," said Caufman, with sustainability being at the core.
The Latin American-themed collection was swiftly followed by a second, 'Latin Animae Vol 2', but today the site carries objects from artisans across Asia, Europe and North Africa, in a celebration of cultural differences through craft.
Figue is the creation of former Parsons School of Design graduate Stephanie von Watzdorf. The New York-based brand fuses luxury fashion with a bohemian lifestyle, and is known for its one-of-a-kind pieces that capture the spirit of global travel and celebrate the talents of local artisans.
Founder Stephanie von Watzdorf with local artisans during a trip to Haiti.
Launched in 2012, Figue reflects its founder's heritage and is a natural extension of her personal style and passion for travel. Born on the outskirts of Paris to a German-French father and Russian mother, von Watzdorf spent time in New York during school term times and her summers in Europe, particularly the Isola dei Galli, an Italian island off the Amalfi coast between Positano and Capri. And with its international 'gypsy-meets-jet-set' spirit, Figue's unique pieces recreate that treasured experience of stumbling across special finds on one's travels.
Figue's Chelsea studio in New York.
Cultivating local crafts and respecting time-honored traditions are causes close to van Watzdorf's heart. Figue works with artisans from around the world to produce the original prints, embroideries and hand-embellishments that define the brand, as well as the accessories and jewelry that complete its season-less, luxe-boho look. And Figue's Chelsea studio is a testament to its global outlook as it's filled with books, artwork and objets that the founder has sourced on her travels.


text:
Q: Formal adjoint of the exterior derivative on a manifold with boundary Let $(M,g)$ a compact Riemmanian manifold with boundary. I want to define the formal adjoint of the exterior derivative $\mathrm d\colon C^\infty(M)\to \Omega^1(M)$.
If $\partial M=\emptyset$ and $\xi$ is $1$ differential form on $M$, I can define $\mathrm d^\star \xi$ from the formula
$$
\langle f,\mathrm d^\ast \xi\rangle =\langle\mathrm d f,\xi\rangle
$$
imposing its validity for all $f\in C^\infty(M)$
If $\partial M\ne \emptyset$, Initially I thought substituting $C^\infty(M)$ with $C^\infty_0(M)$ (the space of scalar function with compact support contained in the interior of $M$) but I'm not sure that proceeding in this way $\mathrm d^\ast\colon \Omega^1(M)\to C^\infty(M)$ is well defined.
So, how I define $\mathrm d^\ast\colon \Omega^1(M)\to C^\infty(M)$ whene $M$ ad a non-void boundary?
Thanks in advance

A: The definition of the formal adjoint is usually given in both cases (compact manifold with empty or not empty boundary) by testing against $C_0^\infty$ sections  (compactly supported). Of course in the case $\partial M = \emptyset$ it's the same as using $C^\infty$ sections.
The main difference is that now the formula $\langle df, \omega\rangle_{L^2(M)} = \langle f, d^*\omega\rangle_{L^2(M)}$ will hold only when $\omega $ (or $f$) vanish on $\partial M$.
In general, if $\omega$ or $f$ do not vanish on the boundary there will be an extra term , more precisely
$$\int_M \langle df, \omega\rangle \operatorname{vol}_M= \int_M \langle f, d^*\omega\rangle \operatorname{vol}_M+ \int_{\partial M}\langle \nu\wedge f, \omega\rangle\operatorname{vol}_{\partial M}$$
where $\nu = \langle\cdot, \frac {\partial}{\partial n}\rangle \in \Omega^1(M)$ is dual to the normal to the boundary.
The reason for this definition is functional Analysis.
Indeed $d$ defines  a closed, unbounded, densely defined operator $L^2(M)\to L^2(\Lambda^1M)$ ($L^2$-section), with a certain domain. Its  Von-Neumann adjoint coincides (in its domain of definition) with $d^*$ (beware in general the Von-Neumann adjoint is defined on a subset of the domain of the natural extension of $d^*$ to $L^2$).
What you gain is therefore a decomposition
$$L^2(M) = \ker (d)\oplus \overline{Im(d^*)}$$
$$L^2(\Lambda^1M) = \overline{Im(d)}\oplus \ker(d^*)$$
where  $d, d^*$ here are, with a little abuse of language, the extensions with the natural extended domain for $d$ and the domain given by the definition of Von-Neumann adjoint for $d^*$.


text:
CyclingPro.Net The multilanguage cyclingnews website
The peloton reacts to Chris Froome at the Ruta del Sol 2018
Chris Froome makes his season debut at the Vuelta a Andalucia Ruta Ciclista Del Sol 2018, while mired in controversy due to an Adverse Analytical Finding of Salbutamol in a urine sample during the Vuelta a España 2017, a race which he won. No concrete answers have formed since this news broke in late December 2017, although there is an ongoing investigation by the UCI. As Salbutamol is a controlled substance, there could be grounds for a potential ban on racing for Froome, but due to the involvement of lawyers and complex legal proceedings, it's unlikely the case will be resolved anytime soon. Should Froome be riding while this question mark hangs over him? Here's what some riders have to say…
Philippe Gilbert on Chris Froome
"It's difficult to give an opinion on this matter…but personally, for me it's a big mistake [for him to be present at the race] because there are still doubts around him…he was wrong to come to the race while these doubts remain."
Tony Martin on Chris Froome
"It's super bad for cycling. I absolutely do not understand why Team Sky came back with Froome when the case remains unclear…it's a shame."
Yoann Offredo on Chris Froome
"I won't get involved in platitudes and I don't really have much to say. I think if he's broken the rules, the appropriate authorities need to manage the situation…he can present his defence…he needs to explain himself but it's up to the authorities to enforce, or not enforce any sactions… and if they do, they [the sanctions] needs to be consistent with relation to what he has done [wrong]."
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Giro d'Italia 2018, Dennis: "It would be really special to take this jersey into Italy"
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DURBAN - The self immolation plans of a 35-year-old woman who believed burning herself alive would resurrect her dead father were thwarted by a private security firm in Verulam, north of Durban.
According to a statement from Reaction Unit South Africa (RUSA), the incident took place on Thursday evening in Inanda Road.
The company was alerted by members of the public, who said a woman was "trying to set herself on fire".
"Upon arrival RUSA members found a woman seated on the roadside attempting to burn clothing. She explained that she lives in the bush between the Mountview intersection and Fairview Drive, Brindhaven.
"She explained that she was attempting to start a fire to conduct a prayer in an attempt to resurrect her father who died 17 years ago. She also confirmed that her mother was murdered and she had no family. The woman also admitted to being high on heroin while being interviewed. She allegedly supports her drug habit through prostitution."
RUSA's Prem Balram told African News Agency that the woman admitted she also wanted to set herself on fire to help resurrect her father.
The woman was taken to the Verulam Police Station while her family was being located, said the statement.


You will find many studios, flats, houses and villas for your holiday in Toulx-Sainte-Croix. Contact the owners directly on the IHA site and enjoy the best rental prices, promotions and last minute deals that meet your budget. Visit the picture gallery on private lettings for a break with family or friends. All holiday listings on IHA are verified, plan your journey to Toulx-Sainte-Croix with absolute confidence!
House of charm with water (3ha) for sites for swimming and angling No. kill in a quiet and bucolic setting.
Your comfort, enjoyment and happiness is our goal whilst you spend you holiday with us in the hidden gem of Central France.
This old farm dating back to the XIX centuries in stone of the limousin, entirely renovated with charm, asked at the edge of a wood, not far from the village of Jouillat where you can visit the Church and its murals.
Stretch of water at 2.5mi.


Great post for Tolworth, Lucy! I'd forgotten the Millais connection to the area. I'll have to head down to the Hogsmill in the hope of spotting a kingfisher. Incidentally, I watched the film Effie Gray (Millais' wife) at the weekend and I hope to post about her in the future. I researched her marriage to John Ruskin when I studied divorce in the early modern period.
Thanks! Ooh I must watch that film- look forward to your future post!


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Komiket held its second event in Manila last October 14 & 15, and the crew of Kamote Kollektiv was again there. This time, we were present for both days, making the most of the weekend crowd (many of whom likely just got their salaries and/or allowances).
We're a lot more organized now compared to last February, thanks to our experience then and the few other bazaars we've joined in the last few months. We have more stickers, and we also have a few more people in our group selling. We also have a better inventory system, where we can keep track of what sells and who owns them, as opposed to the old one when we did it willy-nilly.
I made more designs too!
According to sales, the best seller was the Don't Forget to Save one. I should print more of it for next time.
Verdict? Sales were much better this time. I'm inspired to do more fanart stuff.
I was able to go around a bit to check on other artists. It was great to see the tables of popular artists who became popular online like Hunghang Flashbacks (their table was right behind us) and Libreng Komiks. Artist favorites were also present, like Manix Abrera (also a table neighbor) and Pol Medina Jr. I missed Gerry Alanguilan, as I only went on Sunday.
I also found new artists to look up: Corinne Caro (who does this really great illustrations of Filipino streetscapes), and Victoria Tadiar a.k.a. Haitori who wrote Sagala, a Filipino steampunk comic.
The best thing about this? We were tablemates with Fandom Feels PH and Numinous Studio, both of which are run by my friends Grace and Rai, respectively. I didn't miss out hanging with my friends while trying to earn money, which was awesome.
Sepanx magnet at work at Komikon!
Kamote Kollektiv will be back at the BGC Art Mart this November 24-25!


text:
The Promise by Damon Galgut
By Kole Omotoso
28 November 2021 | 3:10 am
Damon Galgut published his first novel when he was 18 years of age. As usual for such early displays of genius, nobody, least of all the writer, wants to talk of it today.
Damon Galgut published his first novel when he was 18 years of age. As usual for such early displays of genius, nobody, least of all the writer, wants to talk of it today. Other than the title of that novel, nothing else is ever mentioned. For now let it remain thus. Let us go to the reason A Sinless Season is mentioned. The Promise published in 2021. This is the ninth novel of Damon Galgut, counting the first novel or not.
The Quarry (2005, Grove Paperback) was my first encounter with Damon Galgut. It was the film adaptation of it that I saw and liked. It is to be noted that Damon Galgut wrote the film script. This is mentioned because so much is made of the fact that Damon Galgut took on a film script job in-between the beginning and finishing of the writing of The Promise and hence the fact that the novel reads very much like a film script.
Galgut himself points out examples of places in the novel where the dialogue is influenced by the film script writing format. The fact is that writing film scripts has been part of Damon Galgut's expertise from the beginning of his writing career.
The important matter that needs to be discussed before going into the novel itself is the matter of the ease with which South Africa and South Africa's history lends itself to fables and proverbs in the hands of South African writers. To the question, 'What does this story teach us?' Can be answered in the positive by any South African novel or play or poem.
The Promise is a novel in four parts, each section a narrative of 10 or so years, and each section separated by the death of a member of the family. The mother, the father, the eldest daughter ASTRID, and finally the eldest son ANTON, in that sequence. Each section of the narration is tormented by a promise that Mr. Swart makes to his wife, Mrs. Swart that the house in which Salome, the house maid lives in now, should be given to her in perpetuity. Once Mrs. Swart passes on the family begins to forget the promise. With the exception of the youngest daughter of the family, Amor.
There are reasons Salome ought to inherit the house. She is already the occupier of the house; effective occupation makes her the owner of the house. And anyway, the promise was made to Mrs. Black, 'Swart' meaning 'Black' in Afrikaans.
The novel begins when the news that everyone had been waiting for arrives and nobody believes it. But arrangements go ahead for the burial of Ma. Unfortunately, she had returned to her original Jewish religion. She had converted to her husband's religion on her marriage. In her death, she insisted on going back to her original religion.
This upsets her husband. He had expected and had arranged that he will be buried next to his wife, while the other children would be buried with other members of the family as well. He offers to make a donation to the Catholic Church in order for Ma's last wishes to be changed. The Church refuses and rebukes him for making such an offer.
Anton, their eldest child insisted that their mother's wishes must be respected. It led to a confrontation between father and son. The father insisted that his son was rude to him and unless he apologises to him for his rudeness, he would never speak to him again. Anton refused to apologise to his father and their family priest and he is kicked out of the house.
The second part of the novel begins with a phone call to Anton that his father had been bitten by a snake and so, he must return home to the farm, to the possible death of his father. The sisters were anxious that Anton should get home in time to reconcile with his father, should in case matters become otherwise.
Anton is tormented by the use of such reconciliation for either of them. Anyway, he goes and finds that his father had passed on. He visits the funeral home for his meeting with his father. Previously, he had had another meeting with the family priest to whom he was also rude. He apologised and they all became part of the committee that arranged the burial of his father.
Three or four days later, the will of Mr. Manie Swart is read and nothing is mentioned about Salome. Her name does not appear in his will. And why should it appear? Although when Anton goes to drop Amor at the Durban bus stop the following day, Amor told him that they should be able to do something about the Salome house sometime. Do what and when? Neither Anton nor Amor could answer the questions and they parted.
Part three is titled ASTRID, the eldest daughter. She enjoys shopping. In fact, shopping is the one thing that relieves her of the burdensomeness of human existence. She has been doing some confession and she promises the priest she would stop the affair she confessed to and resume taking communion. She drives out to the mall to shop. Loaded, she is driving home when she realises that some man is sitting next to her. With a gun to her side. She is hi-jacked. She is killed.
Amor comes from Durban to attend her sister's funeral. And hopefully, to settle the Salome house issue. Anton refuses to deal and Amor leaves the second and final mass for Astrid, promising never to speak to her brother again.
Of what use is the Booker Prize as an indication of future Nobel Prize? None at all, if we were to go by Abdulrazak Gurnah's Nobel Prize of this year. The nearest that Gurnah got to the Booker prize was his nomination for it for Paradise in 1994.
Yet, the other two Nobel prize winners were both Booker prize winners, Coetzee twice. The question of the relevance of Booker to Nobel is the greatness that the Booker prize has acquired today. The best that can be said, for now, is that it matters and it does not matter.
Part four of The Promise is entitled ANTON…
Damon Galgut
Yulitide: IGP pledges improved service delivery, orders round-the-clock patrols
The Inspector General of Police (IGP), Usman Alkali Baba, has made commitment to improved service delivery in the coming year, 2022.
The world on screen: the best movies from Africa, Asia and Latin America
From a Somali love story to a deep dive into Congolese rumba, TheGuardian.com writers pick their favourite recent world cinema releases India The Great Indian Kitchen A leaking kitchen pipe is at the heart of this Malayalam language film, set in a relatively prosperous family home in scenic Kerala. Each day, the new bride asks…
The History And Tradition Of Christmas Trees
Hey, I've caught Christmas fever, can you blame me? Well, as we all look towards that one day called Christmas, there has been tons of preparation leading up to that one significant day. The day most Christians unite in hope of the promise of a saviour. Christmas is a beautiful holiday that everyone appreciates. In…
In Christmas greeting, Biden commends Americans' Covid resilience
US President Joe Biden on Saturday commended Americans for their strength and resilience in the face of the raging Covid-19 pandemic,
Building sector is unregulated in standards, technologies, says Izam
Let me thank you for the valid observation about the increasing menace of building collapse in the country. The recent survey on building collapse undertaken by the institute revealed that every category ....
Imo athletes await handshake as 'sports-loving' governor allegedly neglects team
It has been a fruitless wait and a hopeless situation for the team that represented Imo State at the Edo 2020 National Sports Festival, who have been waiting for the state governor, Hope Uzodimma...


Even though composite decking is extremely durable, it still needs some regular maintenance. Those who completely ignore their decks might find themselves dealing with issues such as cracked panels and sagging planks. Here is a quick look at five easy tips that will keep your deck looking great no matter what type of climate you live in.
Most of the leading composite deck brands come with a warranty, but you might void that warranty if you don't clean off oil and food debris within a certain period of time. As a general rule, food scraps shouldn't be left on the deck for more than a few hours. A household degreasing agent such as dishwashing detergent will remove smaller stains.
Homeowners who live in colder climates should never use sharp shovels to scoop snow off of their decks. The edges of a shovel will gouge into the composite decking and cause permanent damage. Calcium chloride can remove ice and snow, and it shouldn't damage your deck as long as it is eventually swept away.
A pressure washer is an excellent investment for anyone who has a deck, but you might need to lower the settings on your washer before using it on composite materials. You should never use a fan tip that has more than 1300 PSI, and the nozzle should be almost a foot away from the deck.
Even though many decking products such as TimberTech are designed to resist mold and mildew, you should still try to clean natural debris off as quickly as possible. When leaves or pollen sit on your deck for a long period of time, it will become a breeding ground for bacteria. Cleaning the deck with mild soap and a soft brush should get rid of most natural debris.
Your deck should be thoroughly cleaned a few times a year, and you might want to apply a deck brightener to the surface immediately after cleaning it. Products that contain oxalic acid should remove most stains while protecting the composite material.
Adding a composite deck to your home can be a major investment, that's why all homeowners should know how to properly care for these additions throughout the year.


It would simply make for a better way to title a course.
Kevin, I was able to find this now-archived feature idea that sounds like it would encompass what you've requested: Add RCE Section to the Top of Any Home Page Option Like Syllabus Unfortunately, the idea did not gain enough traction to amass a vote total that would move it forward to the next stage. Since archived ideas that haven't received a response from the product team can generally be resubmitted, and as long as someone else doesn't find a similar idea that's currently open, I would expect yours to be moved forward for consideration in the next voting cycle. I've bookmarked it, because I would welcome this feature; if it were implemented, it would make me reconsider how I typically set my course navigation and design my home page.
I would vote for this!
What we do is we set up a template to use as a course master. It's generally standardized across the programs. The home page is set up in a hidden table format and we have a placeholder set of images that a professor could interchange. There are instructions in the html code on how to do that - written as <!--html notes> within the code - though ideally the instructor will work with an ID to carry it out. We like to ensure that the code stays in tact and that the images comply with commons standards.
Sean Could you possible share a screen capture of a course using the template you are talking about? I was attempting to wrap my head around what you wrote, but I am not certain I was really understanding it. Also, if you are using a hidden table, have you run into any issues with screen readers, and, if not, how did you avoid this, or, if so, how do you correct for it?
It looks like I didn't get a shot of the <!--html commenting-->, but you can see in that first image that within the RTE there is placeholder text for an image, including how wide an image should be to fit within that table column.
My personal opinion is that the table format should be eschewed, but there is a lot of value in terms of standardization of the format and making it accessible to the IDs - who are not necessarily web designers. At the end of the day, the tables make it easier for us to review our QM rubrics since everything has a place on the page. I don't know how it looks with screenreaders, but I can't imagine it being difficult for the screenreader to render since the information is compartmentalized into table cells.
This idea has moved to the next stage and will be open for voting among the Canvas Community, from Wed. August 3, 2016 - Wed. November 2, 2016.
I think it could be something similar to how the function of the ePortfolios work. Where you can add different elements to the same layout.
The ability to easily add images on all the pages would be awesome. Also, many teachers don't know html so making modification should be easier please.
I agree! Even a thumbnail sized picture would be nice.
Although I see where you guys are coming from with this, we don't have the capacity in the next 6-12 months to do anything about it, so we'll be archiving this idea.
I really get frustrated with how a good idea like this which received enough votes gets "archived". I totally understand that currently there is not the capacity to develop this, but can this idea then be left "open" or on a list of "to-dos" rather than going all the way back to archived which means it will have be re-posted and re-voted for!???
This could negate the need for a "Home Page" with a table of images which causes many teachers a lot of frustration. Having a Course Setting to automatically collapse the Modules would fit nicely with this concept.
Yep, this is badly needed. Image capability in module titles, please!
This sub-feature request is to add a thumbnail image to the module header.
Constructive visual rhetoric is a much needed addition to the powerful foundation of modules.
Edit Module Settings could have Image Source dialogue box modeled after RCE.
Hope this idea gains traction...submitting for a friend.
My take on this is a little different so not sure if it is a different request - I'd love the ability to add text to the top of the Modules Page in addition to a thumbnail that seems to be the original intent here.
Now that Modules is the default home page for a course, this would be such an easy way for instructors to add instructions or a greeting for a course without having to create a separate page and subsequent navigation to Modules.
Could be option - "Include Modules Title?" or something like that, gives you the RCE, and a new DIV happens on the Modules page. Maybe the result is something like this below?
I'm going to to the devil's advocate here. I don't think adding images to the modules is a good idea. When we use images in a title, it allows us to get a bit sloppy with the title text itself. We don't have to be quite as descriptive and precise as we tend to rely on the image to convey meaning. When we allow an image to convey meaning, it requires that instructors spend that much additional time to add quality descriptive text so that screen readers can explain what the image is, why it is there, and what it's meaning is. Unfortunately, many faculty (at least those I work with) don't understand the necessity of alt text much less how to develop quality alt text. On the flip side, if an image in a module title is simply decorative, why waste time putting it there? Add it to the top of the module page seems to be easier and have fewer possible adverse reactions.
I don't understand why we would want to limit people that know what they are doing from doing what they want. If you don't know what you are doing, then stop. There is currently an institutional option that allows teachers to have images on their course card. This could be the same. If you don't want teachers having images in modules, just turn it off.
Re: Title Banner image on Module index page?


Superior Rooms at Barton Hall are twin rooms, family rooms or double rooms.
All Superior beds are 5ft or 6ft (unless made into twin beds) and have walk in showers and baths.
Superior Rooms come with 40" smart tv's, complimentary Wifi, white company toiletries, tea & coffee facilities and hairdryers.


Just a small comment. I suppose your father "founded" your family business rather than finding it. Anyways, if he found it and made it his own, he was indeed lucky.
I can see why you liked James E. Hughes lecture so much! This is such a thought-provoking topic. When I think of my family, there was a feeling that everyone must make it on his or her own and not expect to "be handed" anything or have a head start! ("shirt sleeves to shirt sleeves in TWO generations! 😉 Any sense of the family as a group project seems to have been lacking. One of my favorite books is Mama's Bank Account, by Kathryn Forbes. You can read the first chapter on amazon.com and that is all you really need to see what makes it so special.


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Made with 59% cotton, 25% polyamide, 16% viscose.
Shellfabric: 59% Cotton, 25% Polyamide, 16% Viscose.


text:
est eng
Fresh issue still on sale! "I will leave this page open, looks like it's not loading. Let me know when it's working again." – Taavi Eelmaa & InferKit, "Triaad" (4/2022)
Art prizes in Estonia: a small commented compendium
Andreas Trossek (2/2013)
Andreas Trossek offers a brief overview of the mechanism of issuing art prizes in Estonia.
Just what is it that makes contemporary art so different, so appealing? One answer is art awards, of course. How else could the wider public even know that there is a contemporary artist, whose work according to expert opinion is somehow better or more interesting than the work of the other contemporary artists? How else could a small art community communicate a message to a wider audience, saying that in local galleries, museums and project spaces, the process of producing cultural values still continues? That art history is being made here and now? That there are artists that are worth "keeping an eye out for"? Yes, this is where the fairy tale begins, a narrative created by public relations and communications professionals that we all as viewers believe... because it really seems that we have no other choice.
What exactly is the media strategy for an art prize, or what is the mechanism for awarding art prizes based on? The authority of experts? The competence of colleagues? No, it is money. Art prizes function on the basis of money, and the amounts of money moving from one bank account to another are quite substantial. The money, in turn, establishes the respect of the public, even if initially expressed as a lack of comprehension in amazed and wondering whispers of "is this art?!". Yet eventually, the paradox is that these thousands and thousands of euros will be transferred to a specific bank account and the detractors will have... only their fingers to wave. So from the position of the viewer you might not be interested in art history, you might consider contemporary art as some kind of pseudo-activity, but when this odd exponent in front of you has been announced worthy of thousands and thousands of euros, you have no other option than to accept the situation. When the news says it, so it is, and that's all. Money talks, money is a universal language, money isn't interested in your upbringing, your diploma or your private interests.
True, in relation to money, contemporary artists are generally cynical. Art is not made for money, a commercial artist is almost a swear word in the art world. However, in Estonia there are no publicly known cases of an artist turning down an art prize – even as a political stand or for scandal, for the free publicity it offers – or claiming that actually some other artist deserves this prize more. It is not even about money or people's inherent greed, but also about (hidden) hierarchies regulating culture: from the artist's perspective the prize in undoubtedly "a free pass to art history". If the experts in the jury said it, it is true, and that's it. So what then are we all talking about in this little art world, that everything is relative, that actually we don't believe in this capitalist sports game called "the best artist of the year"? But time passes, all sorts of layers of irony and the conscious use of double meanings will be swept away from our short active memories and only the names of the winners will shine brightly in history (without any sense of cynicism now). Money talks and we listen.
Undoubtedly, Viktor Misiano is right when he says that the (over)prioritizing of art prizes is characteristic of the former Eastern Bloc, and that fetishized prizes are symptomatic of a lack of infrastructure. As though art awards can compensate for the lack of a considerable art market and the lack of real income. Optimists say that the situation is still pre-market and that the (local) market will eventually emerge. Pessimists state that despite the fact that for nearly a quarter of a century Estonia has been part of the economic zone of the free market (i.e. in the friendly bosom of the capitalist countries), the art scene in this small country is still predominantly based on tax money, as if nothing had essentially changed after the collapse of the Soviet Union. Despite the prevailing rhetoric of entrepreneurship and creative economy, the artist continues to be some kind of a strange "public employee"; moreover, one who often has to pay for his or her own work. How long does a transition society normally last, a generation? At the same time statisticians and logicians sum up the years, sales figures and forecasts for population growth, reaching once again the conclusion that the only way out is the internationalization of contemporary art at a professional level. The Promised Land starts almost as soon as you cross the border – only contemporary art works that have "travelled" have any hope of finding widespread acceptance in a self-cognitive periphery like Estonia. When the nation-state centred identity-creating narratives are no longer enough to hold the concept of "Estonian Art" together, we continue to find comfort in the fairy-tale of belonging to the motherly bosom of occidental civilization by birth. Money talks… no, it whispers.
First of all, what is the landscape of art prizes in Estonia like? What is the background to the existing prizes? What and who could a new prize hypothetically outdo?
The oldest art prize in Estonia, which has been awarded since 1973, is the annual Kristjan Raud Prize. Awarded under the auspices of the Estonian Artists' Association (EAA) and Tallinn City Government, although the money comes from the city, it is for all intents and purposes an EAA prize. Named after Kristjan Raud (1865–1943), whose creative peak was in the period of the first Republic of Estonia, when among other things he participated in the publication of an illustrated issue of the national epic "Kalevipoeg" (Kalev's Son). The terms of the prize provides that one Kristjan Raud medal will be issued for an art event disclosed or completed during the previous year, but the prize could also be given for works completed earlier or as a lifetime achievement award. Looking through the list of recipients, it is noticeable that most have been mature, creatively speaking, when they received the prize. Thus, in some sense it is like a classic military medal – given to those who have fought a significant number of battles. Every year the "harvest" is four equally awarded individuals. The prize is 2,240 euros each (this number "strangely" resulting from Estonia's transition to euro in 2011, in the old national currency it was 35,000 kroons). The Kristjan Raud Prize has also been awarded several times to art historians, so it is not only reserved for artists or applied artists. The broad social prestige of the prize manifests itself, among other things, in the fact that it is hard to imagine any evening television news program or cultural section of the daily newspapers neglecting to cover the award ceremony.
Almost as prestigious are the Konrad Mägi Prize and Medal, which are issued by the EAA with one of its sub-unions, the Estonian Painter's Association, and is sponsored by the Cultural Endowment of Estonia (Kulka). As a painting prize – painting was a dominant technique throughout the 20th century – the Konrad Mägi Prize is surrounded by a certain "aura" in the media, in spite of the fact that the upsurge in installation, video, photography and other competing forms in the 21st century has resulted in it becoming slight marginalized. It has been awarded since 1979, and is named after the ill-fated Konrad Mägi (1878–1925), whose landscape paintings influenced by Impressionism, neo-Impressionism, Fauvism, Expressionism and so on, belong to the treasury of the national art canon. Estonia's most prestigious painting award, as it is described in the terms and conditions, is worth 3,200 euros in numerical terms (50,000 kroons). The list of winners shows a noticeable regularity – between the classics some younger painters have also occasionally been recipients; thereby, preventing accusations by the "young" that the "old" do not notice them at all. As with the Kristjan Raud Prize, it can also be said of the Mägi prize that by awarding it every year the EAA successfully establishes its authority in Estonian society as the main professional association that all artists can voluntarily join.
The national cultural prizes organised by the Estonian Ministry of Culture (9,600 euros to one laureate), which sometimes include the visual arts, could be seen as the highest official recognition. With these annual prizes the state generally recognizes contributors to culture that have already run the gauntlet of colleagues and experts, and therefore, the prize could be seen as an institutional prize. Since the majority of what goes on in the Estonian art scene occurs on the basis of tobacco and alcohol taxes, it makes sense to interpret Kulka's annual arts and applied arts endowment prizes (3,500 euros per winner) as producer prizes. In a sense, Kulka's prizes could therefore be compared to the Oscars in the movie world – the "industry" is evaluating itself. Kulka also funds several smaller prizes for the sub-unions within the EAA (e.g. the annual prizes for the Association of Estonian Leather Artists or the Art Historians and Curators), but these events normally do not extend beyond the threshold of narrow collegiate newsletters.
Private money
What should the role of private funds be here? The oldest art prize issued on the basis of private funds in Estonia is the Sadolin Art Prize, which has been awarded since the middle of the 1990s, when after the collapse of the socialist planned economy, the funding models of the Estonian art scene were in an active reconstruction phase (in 1992, the Estonian Soros Center for Contemporary Arts was founded; in 1994, Kulka was restored on the basis of an institution that existed in the first Estonian Republic). There have been interruptions to this prize, and a sort of "third coming" occurred in 2012, when the grand prize was 5,000 euros. As the prize is awarded by a company that manufactures paint and varnish (Akzo Nobel Baltics AS), it is understandable that the laureates have mostly been painters with an occasional graphic artist (in 2012 Paul Kuimet was the first photographer to be awarded the prize). In some sense, the Sadolin Prize has been what could be called a "doping prize" because for the most part the company has awarded artists in the first half of their career, thus excluding recognized mature artists on the one hand, and younger artists on the other (read: EAA deals with mature artists anyway, and for students there is the Eduard Wiiralt Prize (3,000 euros, since 2004) issued by the Ministry of Culture, or the Young Artist Award presented by a number of private collectors/entrepreneurs (1,500 euros, since 2005)).
Undeniably, the role of the former Hansabank Art Prize is also important; although since 2010 it is only possible to speak of it in the past tense. Ideologically, it was rooted in and promoted a Western art model, which emerged through the former network of the George Soros contemporary art centres throughout the former Eastern Bloc. In practice, the office of the former Soros network in Tallinn (currently: Center for Contemporary Arts, Estonia) co-ordinated its exhibition activities in the 2000s via a gallery at Hansabank. Symbolically, the winners of the Hansabank Prize (Marco Laimre in 2000, Ene-Liis Semper in 2001, Marko Mäetamm in 2002, Mark Raidpere in 2005) sooner or later found themselves among the winners of the competition for the Estonian pavilion at the Venice biennale. When Hansabank was acquired from local bankers and took over the entire Baltic market under the name Swedbank, the prize was also renamed the Swedbank Art Prize in 2008, and drew from a regionally wider selection of nominees. In 2009, the grand prize was increased to 10,000 euros, and in addition there was a travelling exhibition of the five nominees (Tõnis Saadoja was chosen from Estonia) throughout the Baltics, Russia and Sweden – in short, wherever Swedbank operates. However, then another global economic crisis reached this part of the world...
Public and private money
The Köler Prize is the most discussed art prize in the Estonian art scene in recent years. It is a local contemporary art prize (read: limited to Estonia) launched in 2011 with support from Kulka and the "Tallinn – European Capital of Culture 2011" programme. Each year the four members of the council of the Estonian Museum of Contemporary Art EKKM, which was founded in 2007, have promised to nominate five artists. The prize is named after Johann Köler (1826–1899), an Estonian born Academic painter from St. Petersburg, who is also known as an important figure in the national awakening in the second half of the 19th century. Considering the average age of the nominees in 2011, 2012 and 2013, it can be said that the award is for more or less younger artists mostly in the middle of their career – the local art scene generally knows their names well, but the general public (as yet) does not. The Köler Prize continues in many ways from where the Swedbank Art Prize left off (e.g. we find Tõnis Saadoja again among the nominees in 2011), albeit at a more sober level. The grand prize is 5,000 euros; the audience prize is 1,000 euros.
Like most prize-plus-exhibition combinations around the world, the format of the Köler Prize has been borrowed from the British Turner Prize, which is a contemporary art award presented in Great Britain since 1984, each year it is given to a British artist under 50 years of age for an outstanding exhibition or for creative work in the previous year. The media attention surrounding the exhibition of work by the nominees, especially in the 1990s, made the Turner Prize a kind of "icon". Its formula for success followed a standard advertising strategy, placing the audience at the forefront: hefty prize money (in recent years 40,000 pounds), adrenaline-pumping "who will win?" sports moment, provoking the gutter press and an audience with no art education with "implausible" art objects (i.e. dead shark in a glass tank, an unmade bed, etc.). Scandals, discussions, audience numbers, museum purchases, auction records – and British art was put nicely on the map during the last decade of the 20th century. As a result, over the years the Turner Prize has mainly been associated with the conceptual art tradition, although the prize has also been awarded for traditional painting and for a work that could only be heard. It is organized annually by the Tate Gallery, where attendance numbers have undoubtedly only increased since its inception.
So how close after three years have the Estonians who hand out the Köler Prize come to the British example? Not very close considering the money distributed to the artists: 5,000 euros is in no way comparable to 40,000 pounds. If you take the Turner Prize as a conditional model – an exhibition of nominees with a grand prize as the cherry on top – then Estonia's closest neighbours, the Latvians (Purvītis Prize – 28,500 euros) and the Finns (Ars Fennica – 34,000 euros – a prize which in 2008 went to Estonian Mark Raidpere for his photographic and video works) have bigger contemporary art prizes, as do the Russians (Kandinsky Prize, 40,000 euros). On the other hand, Estonia is still a transitional society and the grand prize of 5,000 euros that the Köler Prize awards, seems like a cosmically abundant pile of money in the local art scene. (Not to mention that this amount of money weighs in at a completely other level compared, for example, with the oldest Estonian art prize, the Kristjan Raud Prize at 2,240 euros.) In addition, a revolutionary step has been taken in the local context in the case of the Köler Prize: the prize money is footed by private capital. This has been an important decision in a system, which is basically based on – as described before – the distribution of tax money. The production costs of the Köler Prize exhibition have been covered by Kulka, odds and ends have been covered by the Ministry of Culture, but there is an explicit agreement that the award money comes from "art friendly private funds". In 2011, the grand prize of 5,000 euros came from logistics company Smarten Logistics, the audience prize of 1000 euros came from Temnikova & Kasela Gallery and the Lawin law firm. The same thing happened in 2012. In 2013, EKKM declined support from Temnikova & Kasela Gallery and Lawin, seeking the funds for the audience prize instead from the architectural bureau Salto AS.
However, it is hard not to notice that these "art-friendly private funds" – for example, in the case of Temnikova & Kasela Gallery, still essentially consist of people from the same art field. Temnikova & Kasela is currently the only solid Estonian participant at noteworthy art fairs, Salto in turn has the reputation of making quite conceptual architectural projects, the chairman of the board at Smarten Logistics is the renowned private collector Armin Kõomägi, and so on. Therefore, the model of the Turner Prize really hasn't taken the nominees of the Köler Prize significantly beyond the art scene to any kind of broader social recognition. This (voluntary?) principle of "niche-product" is in turn reflected in the level of media attention for the exhibition of the Köler Prize nominees, where the cliché of "punk" youth culture mostly emerges. Apparently, the Köler Prize has to put all its bets on the rising generation rather than on the crowds "from children to grandparents" (the word "museum" in the process of branding EKKM is in this sense more of a provocation). And, of course, in the long run, the whole Köler Prize initiative silently contributes to the recognition of the national museum where key works by Köler hang in the halls of honour. Since the captivating embrace of the Estonian Art Museum's purchase committee is where almost all local artists desire to "fall asleep", because due to the microscopic local art market and the difficulties of breaking through internationally, no other ray of hope is to be seen.
Money and relativity
Yet how is it that the Köler Prize has managed to create a more general discussion on the subject of the "quality" of local contemporary art? Have the nominees always been "better" than other contemporary artists? And did the "best" artist always win?
In general, based on the Turner Prize model, the relativity between art and money could be taught to people at a populist level; that the most expensive art could be, but is not always the best – just like the most expensive real estate may or may not be the best possible investment item considering overall quality of life. It seems like a trivial repetition to point out that the Turner Prize model offers the audience an opportunity to observe the game and raise their voice, compare the exhibitions of the nominees and choose their personal favourites within given limits. However, if such critical discussions have emerged in connection with the Köler Prize, they have been largely neglected and rarely public.
The signals coming from the local art scene itself have mostly been positive because artists, curators and critics in Estonia are not accustomed to openly criticizing the decisions of a jury, let alone an international jury. On the contrary, collective (and thus anonymous) expertise is taken as the word of God. The nominees and the winners of the Köler Prize have also been greeted with an affirmative rhetoric in various newspaper stories. One gets the impression that one or another nominee has, as it were, fully deserved the grand prize, as if any other combination would have been unimaginable. However, take any temporary committee, change the setting by one or two people and you see how the politics of the decisions can dramatically change.
The nominees for the Köler Prize in 2011 were Dénes Kalev Farkas, Tõnis Saadoja, Timo Toots, Sigrid Viir and Jevgeni Zolotko. Jevgeni Zolotko, a sculptor who builds bulky cryptic-mystical kabakov-esque installations, won the grand prize, and Tõnis Saadoja was awarded the audience prize. Then again it could have gone differently. For example, Dénes Farkas could have won. A photographic artist, who won the competition for the Estonian pavilion at the 55th Venice Biennale in 2012; in other words, he was "good" already in 2011. Or why not Tõnis Saadoja? A conceptual painter, whose CV includes probably nearly every possible local art prize, including the 2013 Kristjan Raud Prize; in other words, he was also already a "good" artist in 2011. Or why not Timo Toots, a new media artist, who subsequently won one of the grand prizes at Ars Electronica 2012. Or Sigrid Viir, a photographer, who subsequently won the Pulse Prize at the Pulse art fair in New York in 2012.
The Köler Prize nominees in 2012 were Johnson & Johnson, Flo Kasearu, Marge Monko, Marko Mäetamm and Margus Tamm. Flo Kasearu, who in terms of visual thinking is a strong painter and video artist, won both the grand prize and the audience prize, Marge Monko, who is mainly a photographic artist, received a special mention from the jury. Then again it could have been very different. For example Johnson & Johnson could have won. A sculptor duo, whose portfolio includes probably the most lasting "social sculptures" in Estonia since it regained independence, and which cover the entire city of Paldiski and function like a time-zero for the entire local history of sculpture. Or Marge Monko, one of the most consistent intellectual feminists in the Estonian art world. Or Marko Mäetamm, an artist working in different media, who has represented Estonia at the Venice Biennale in 2003 and 2006, and is therefore a "good" artist. Although it must be admitted that his victory would have seemed unfair to the younger nominees (it seemed that in 2012 Mäetamm was brought in to mix the cards – to prove that the Köler Prize is not just another "youth prize"). Or Margus Tamm, why not? So far the only artist, who in the guise of an institutional critique, has fought against the format of the Köler Prize by exhibiting a curatorial piece at the exhibition of nominees – essentially exhibiting other people's works.
The Köler Prize nominees in 2013 were Paul Kuimet, Karel Koplimets, Kristina Norman, Jaanus Samma and Triin Tamm. Both the grand prize and the audience award went to Jaanus Samma. Then again it could also have gone differently. Far ahead of the others in terms of her previous body of work is Kristina Norman, an artist who represented Estonia in Venice in 2009, although her recent video works are annoyingly universalist, highlighting typical humanist values; nevertheless, it must be conceded that this cliché works in an exhibition space. However, it is only fair to state that Jaanus Samma has developed in recent years as an artist; the gay aesthetic prominent in his work is no longer so hidden, but instead forms the conceptual spine of his position as an artist. The result is interesting and highly sophisticated and in no way "scandalous" in terms of the Estonian gutter press, where homosexuality is constantly laid out as "bait" for anonymous internet commentators. But joking aside, the posters advertising the 2013 Köler Prize were "scandalous" – its graphic design clearly declares the designer's preferred winner.
Jaanus Samma
The Opera "Chairman"
Installation, pigment photo, libreto
Exhibition view at EKKM, photo by Johannes Säre
In any case, even if you are at least a little critical, you can see that the circle of relativity and money closes pretty soon. Someone wins, someone loses, but what counts in the end is... attendance? Indeed, on closer inspection, art prizes in Estonia appear to be simply lists of The Best in Estonian Art, which are easily contestable (art is not sport, although sport like art belongs to the same administrative field in our Ministry of Culture), but it would be naive to claim that these lists do not mean or determine something in the careers of these artists in the future. As with the Latvian Purvītis Prize for example, every year Estonians can also examine the exhibition of the nominees as a prediction of the competition on a much broader regional scale – who will win not only this year's prize, but also for example, the competition for the national pavilion at the next Venice Biennale?
Andreas Trossek is the editor-in-chief of KUNST.EE.


text:
TV Ian Lecklitner May 5, 2019
How to Tweak Your TV Settings So You Can Actually See 'Game of Thrones' Tonight
The makers of the show claim we've all just got our settings wrong, and honestly, they may have a point
Fantasy fans were devastated last Sunday when darkness and constant pixelation ruined what was supposed to be an epic Game of Thrones battle episode. Needless to say, the internet went berserk with complaints, most of which were directed at the cinematographer who shot it.
Everyone watching the Dothraki charge 😂 #GameOfThrones pic.twitter.com/lrmhy5IKa9
— Game of Thrones Memes (@Thrones_Memes) May 3, 2019
But the cinematographer shot right back, blaming the poor viewing quality on a combination of compression issues caused by weak streaming services, people leaving the lights on and TV settings that have never been calibrated.
Admittedly, compression problems were most likely the biggest contributor to the darkness and pixelation issues in this last episode. You see, satellite, cable and streaming providers heavily compress each Game of Thrones episode before they reach your screen. This helps make the show more accessible to the hordes of viewers, many of whom tune in with different internet speeds. Sadly, compressing also degrades the video quality, and when you combine that with an already-dark episode, the picture can be extremely dim and muddy.
The big problem here is that there's not much you can do about compression issues. Some people argue that Amazon streams Game of Thrones at a higher bitrate (which means less pixelation) than HBO, so you could try switching over. You could also try watching later at a time when fewer people are tuning in, so your internet has more bandwidth, which might also improve the picture (although by doing that, you're basically begging to have the entire episode spoiled for you by random dumbasses tweeting the entire plot as it happens — Twitter, why do you ruin EVERYTHING).
Meanwhile, IT expert Zack Gaudet says you're better off using a standalone streaming device, like Apple TV or Roku, rather than native applications on your television. "The reason being that TV has to utilize processing power for the stream and the quality of the image," he explains. "Having an additional device to handle the streaming aspect allows the TV to only worry about picture quality." Gaudet also mentions that plugging an ethernet cable into whatever device you're using can help provide a more consistent streaming quality.
Long story short, streaming kinda sucks and there's not much you can do about it. The two things you can change to improve your Game of Thrones viewing quality, though, are ambient lighting and your TV settings. Fixing the lighting problem is simple: Turn off every light that might leak into the room you're watching from, and close the curtains or blinds on your windows. Cool, fixed: Now that screen pops (and your eyes probably water, but what the hell). Updating your TV settings, however, can be a little trickier, which is why I asked for advice from Gaudet, who says "a personal hobby of mine is to change the settings on my TV before every Game of Thrones episode." Here's what he suggests…
Look Up the Recommended Settings for Your Specific Device
This might sound like a lot of work, but it really isn't. Gaudet says this is the only real way to get the most out of your TV and recommends simply heading to this website, typing in your model and voilà: You'll be provided with a simply-and-easy guide for tuning up your television.
Set HDR to Auto
It's always a good idea to have HDR set to automatic on your TV. When activated, HDR essentially brings out more detail in especially bright and dark areas of the picture, which would obviously help out with last weekend's ultra dark episode.
Don't Crank Up the Brightness
This might seem like a quick fix for an episode that's too dark, but Gaudet says "this tends to wash out the picture instead of making it more visible." He recommends turning the backlight up instead. "Backlight should be what you're raising to get a brighter picture, not the actual brightness," he explains.
Keep the Black Levels Modest
Similar to brightness, putting your black levels too high or low can cause a washed out image. "Too dark, and you'll make the entire image have too much contrast," Gaudet explains. "Too light, and you'll wash out the blacks." He says the perfect middle ground is a matter of personal preference, but the lesson here is to keep those levels somewhere in the middle.
Now, once again, I want to emphasize that the real problem with last weekend's episode was poor compression that had to do with the streaming quality, a problem that you really can't do much about. So while tweaking your TV settings and blocking out ambient light might make this next episode a little bit clearer, Gaudet says you should expect some image problems nonetheless. "Streaming HBO? You're going to have artifacts [transmission issues] and bad gradients, especially in the blacks," he warns, adding that cable is usually a better bet.
All of which is to say, if you really want the ultimate Game of Thrones viewing experience, you'll just have to wait until it comes out on Blu-ray. "That's when it'll look fantastic," Gaudet confirms. And all you need to do in the meantime is abandon the internet entirely, wear a blindfold, stick gherkins in both ears and walk around screaming "LALALALALALALALALALALA" for the next five months or so.
It's a small price to pay.
Ian Lecklitner
Ian Lecklitner is a staff writer at MEL Magazine. He mostly writes about everyone's favorite things: Sex, drugs and food.


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Illinois lawmakers greenlight enhanced abortion protections
FILE - A Planned Parenthood health center is shown in Waukegan, Ill., June 28, 2022. Illinois senators are hashing out a measure to secure access to reproductive healthcare in the state on Tuesday, Jan. 10, 2023, during the final day of the lame duck session, making it one of the latest states to pursue additional abortion protections after the fall of Roe vs. Wade in June. (Claire Savage/Report for America via AP, File)
(Claire Savage/Report for America via AP, File)
CHICAGO (AP) — Illinois lawmakers on Tuesday approved a measure protecting Illinois' access to abortion from out-of-state meddling, making the state the latest to pursue such protections since the U.S. Supreme Court overturned Roe v. Wade last June.
The bill, ready for action by Democratic Gov. J.B. Pritzker, who supports it, would shield reproductive and gender-affirming health care patients and providers from legal action originating across state lines in a post-Roe world where some states are moving swiftly to restrict such procedures.
In the words of Rep. Kelly Cassidy, the Chicago Democrat who sponsored the plan in the House, Democrats have faced down "grave threats to the rights to privacy, reproductive care, and bodily autonomy."
"We are ensuring that Illinois will continue to serve the thousands of people traveling to our state every month to receive abortions and other reproductive and gender-affirming health care, which they can no longer access in their home states," Cassidy said in a statement.
Abortion is legal in Illinois until the fetus can survive outside of the womb, which usually occurs around six months of pregnancy.
Other states have also moved to protect abortion rights. The Democratic governors of Colorado, North Carolina and Hawaii issued executive orders to protect abortion providers and patients from extradition to states that have banned the procedure. And in November, voters in battleground Michigan enshrined abortion rights in their state's constitution — joining Democratic California and Vermont in taking that step.
Planned Parenthood of Illinois said that since Roe was overturned, it has seen more out-of-state patients than ever. Before the high court's decision that replaced Roe and left abortion up to states, Planned Parenthood saw patients from 10 to 15 other states besides Illinois. Since then, its clinics have treated patients from 33 states.
The legislation would also protect the Illinois licenses of health care providers licensed in multiple states who provide treatment legal in Illinois but which might cost them their license in a state where it's not. And it would prevent insurers from charging more for out-of-network care when in-network providers object to treatment on moral grounds.
Senate Democrats, led by sponsoring Sen. Celina Villanueva of Chicago, approved the proposal 41-16, but made changes to the initial proposal the House sent over. After ironing out differences, the House endorsed it 70-39. Proponents scrambled to win endorsement on the last day of its lame-duck session. A new General Assembly is sworn in Wednesday and the legislative process begins anew.
Mary Kate Zander, who heads the anti-abortion group Illinois Right to Life, called on lawmakers to be more open in their debate. The Senate tacked its language onto an existing piece of legislation, so it didn't need the vetting required of a new bill, such as a public committee hearing.
"They know that the people in our state are not supportive of this type of legislation, because if they were, they would pass this legislation in a conventional way," Zander said.
Republican state Sen. Darren Bailey, who lost the governor's race to Democratic incumbent Pritzker in November but took great pains to assure voters he wouldn't try to reverse Illinois' legal abortions, called the measure "pure evil."
"This is wrong. God help us," he said.
Ameri Klafeta, director of the Women's and Reproductive Rights Project for the American Civil Liberties Union of Illinois, said the bill would help reinforce abortion protections in Illinois at a time when reproductive rights are under attack elsewhere in the country.
"We are not letting states like Texas, where there are attacks on abortion care and attacks on gender-affirming care, tell us in Illinois what care people can get in the state," she said.
Pritzker, who was sworn in Monday for a second term as governor, used his inaugural address to propose a constitutional amendment guaranteeing abortion access. ___
NEW DELHI (AP) — Indian billionaire Gautam Adani grinned as he posed this week for photos with Israeli leader Benjamin Netanyahu after acquiring one of the country's main ports, in Haifa. "I promise you that in the years to come, we will transform the skyline we see around us," said Adani, his manner upbeat even […]
African countries lack 'immediate access' to cholera vaccine
NAIROBI, Kenya (AP) — Africa's public health agency says countries with deadly cholera outbreaks on the continent have no "immediate access" to vaccines amid a global supply shortage. The acting director of the Africa Centers for Disease Control and Prevention, Ahmed Ogwell, told journalists on Thursday that the agency is working with the World Health […]
A new year means changes to Medicare, including updated premiums and deductibles and sometimes big policy moves. In 2023, there's a little of everything: Some costs have gone down, others have increased, and there are some notable tweaks to how Medicare works. Understanding what's new can help you get the most from your Medicare benefits. […]
LONDON (AP) — The U.K. energy regulator said Thursday it is investigating revelations that debt-collectors working for British Gas broke into customers' homes to install prepay gas meters that left vulnerable people at risk of having their heat cut off. British Gas' parent company, Centrica PLC, said it had halted the "unacceptable" practice. The Times […]
Spanish, Moroccan prime ministers meet to improve ties
RABAT, Morocco (AP) — The governments of Spain and Morocco held wide-ranging meetings Thursday aimed at turning the page on diplomatic tensions and striking deals on customs crossings and business development. Spanish Prime Minister Pedro Sánchez arrived in Rabat on Wednesday along with 11 government ministers, and spoke alongside Moroccan couterpart Aziz Akhannouch at an […]
Fiesta Bowl Foundation
Celebrate 50 years of Vrbo Fiesta Bowl Parade magic!
Since its first production in the early 1970s, the Vrbo Fiesta Bowl Parade presented by Lerner & Rowe has been a staple of Valley traditions, bringing family fun and excitement to downtown Phoenix.


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