Heritage organisations have launched a rare legal challenge to proposed wind farm plans close to Lyveden New Bield.
English Heritage and the National Trust have joined East Northamptonshire Council, which originally refused planning permission for the four 127-metre high turbines, in opposition to the scheme.
The three organisations have started legal proceedings under section 288 of the Town and Country Planning Act 1990, which provides a legal right for people who are affected by a planning permission to apply to the courts for redress.
They will have to show that the decision-maker has made an "erroneous decision in law" to be successful.
The planning inspector last month backed an appeal by Barnwell Manor Wind Energy to be allowed to install the turbines near the Grade I-listed heritage site, despite acknowledging it was probably the finest surviving example of an Elizabethan garden.
However, he ruled the damage would not be substantial and was outweighed by the benefits of the scheme in meeting wider renewable energy targets.
English Heritage chief executive Simon Thurley said: "We were extremely disappointed by the inspector's decision to allow the wind farm. The inspector did not adequately take into account the contribution that Lyveden New Bield's historic and rural surroundings make to its immense significance.
Dame Fiona Reynolds, director general of the National Trust, said: "We fully support renewable energy and have made our own commitment to halve our dependence on fossil fuels by 2020.
"We have also backed a number of wind proposals where scale and setting have been considered appropriate.


text:
High Court puts off decision to recuse Sri Ram as prosecutor
Published 3 months ago on 03 April 2019
By Emmanuel Santa Maria Chin
Tan Sri Muhammad Shafee Abdullah is seen at the KL High Court in Kuala Lumpur April 3, 2019. — Picture by Mukhriz Hazim
KUALA LUMPUR, April 3 — The High Court today said its decision to recuse Datuk Seri Gopal Sri Ram as the lead prosecutor in Tan Sri Muhammad Shafee Abdullah's case will come after the Federal Court wraps up a similar appeal in a separate case involving Datuk Seri Najib Razak.
High Court judge Collin Lawrence Sequerah said he would have to await the decision from the higher court before delivering his judgment.
"Let us wait for what comes out of the Federal Court, hence I will fix these proceedings for further submissions, that is pending the further decision of the Federal Court," he said, before setting Friday as the next court date.
Shafee, who is acting as Najib's lawyer in the other case, had claimed trial to two counts of money laundering amounting to RM9.5 million allegedly received by the sixth prime minister and two counts under the Income Tax Act last September.
Last month, Sequerah had set the hearing for Shafee's challenge on Sri Ram's appointment to be heard after the conclusion from Najib's similar appeals in the Court of Appeal (CoA).
Shafee had previously applied for the removal of Sri Ram as lead prosecutor, on grounds the latter was not an independent and had a hidden agenda and a strained relationship with the accused.
The senior lawyer had also argued the grounds of Sri Ram having represented Datuk Seri Anwar Ibrahim at the Court of Appeal in a civil case.
Shafee's application is also seeking for the Attorney General's Chambers to produce Sri Ram's letter of appointment, to which the attorney general himself had argued the document is classified under the Officials Secrets Act (OSA).
In court today, Shafee's lead counsel Harvinderjit Singh said he had sighted the appointment letter but was not furnished with a copy of his own.
Harvinderjit said the document did not obtain any information of great importance or which threatened national security deserving to be put under the OSA.
"Merely the marking is not enough to bound production of the document.
"It must have evidence it comes within the official secrets," argued Harvinderjit over the immunity given to the document.
But deputy public prosecutor Kamal Bahrin Omar countered, saying the court of law was a professional setting and not one that involved personal relationships.
"Personal issues and animosity should not be used as a reason to disqualify Sri Ram," he argued.
On March 21, a three-judge panel at the Court of Appeal allowed Najib's appeal to have the prosecution produce the appointment letter of ad hoc prosecutor Datuk Sulaiman Abdullah.
The appellate court however judged against Najib in three of his four appeals regarding his request for additional documents, a gag order to prevent the media and public from discussing the merits of his case, and on the Attorney-General's move to withdraw his certificate to transfer seven charges from the Sessions Court to the High Court.
However, the three-man bench allowed Najib's appeal to have the prosecution produce the appointment letter for Sulaiman.
Najib's appeal to disqualify Gopal Sri Ram as lead prosecutor to be heard April 10
Shafee: Discharge Najib over RM42m and recharge him, or rehear transfer
Shafee says worsening pain caused hearing postponement, wrist now 'much better'

redpajama_set_name: RedPajamaCommonCrawl


Last week, I was fortunate to again take part in a project run by National Citizens Service programme, called Pitch Perfect. This time I was judging the final presentations as groups of young people presented their ideas in a Dragons' Den style format, each aiming to be awarded funds to deliver the campaigns that they had conceived. After we had hosted a visit from a group the previous week I was really looking forward to seeing the final, polished product.
My fellow dragons were Joe Barratt, the co-founder of Stockport Teenage Market and Stockport Councillor Wendy Meikle. Together we had to decide which of the groups we deemed worthy of receiving £50 funding based on their ideas, planning and the quality of the presentation.
The teams did not disappoint, we were all genuinely impressed by their ideas and the enthusiasm and skills they demonstrated delivering their proposals.
I had intended to play the nice guy role but I have to admit to unleashing my inner Bannatyne and giving some of the groups a bit of a grilling about their budgets, objectives and metrics. They responded pretty well though, so I didn't feel too guilty afterwards.
If I'm honest, I had a great time. As judges, we thought the young people did a tremendous job and all deserved their £50 investment.
In the end competition was fierce and "Team Reiss", who had received mentoring and coaching from a local drama group, secured the extra investment for their idea increasing awareness for Walthew House, a charity that supports Stockport people who are blind, visually impaired, deaf or hard of hearing. Their pitch included a rather impressive rebrand including a logo and new key brand messages.
NCS helps young people gain new skills whilst connecting with their local communities and helping out some really worthy local charities. I would like to thank all of the students for their time and effort in preparing for the event and for taking part in a scheme to better themselves and their community when they could just be lazing about enjoying their summer break! There are more activities planned for later in the summer. Follow @NCSNorthwest for more information.


Check out Gedeon's video for "Live Free"
shot entirely on location at Shorefire.
Hailing from the streets of Memphis, soul music flows through Gedeon Luke's veins in rainbow colored hues. Weaned on the gospel infused sounds of Sly Stone, Curtis Mayfield and Al Green and inspired by the rock 'n roll passion of The Beatles and The Rolling Stones, Gedeon and his band The People are here to crash through the boundaries of music and society, to bring Love, Peace and Soul to the world. Fighting through childhood poverty, rejecting the gang violence and drug abuse that surrounded him, Gedeon looked to music, family and faith as his beacon. Refusing to be hardened by the mean streets, Gedeon brings pure joy and passion to his music and his life.His debut record, "Live Free and Love" was cut old school style, throwing his band The People and special guests in a room and laying it down live. It follows no trend. It's Love, Peace and Soul. It's Gedeon Luke.


text:
Die römisch-katholische Friedhofskapelle Heilig Blut ist eine ursprünglich spätgotische, barockisierte Saalkirche in Elbach, einem Ortsteil der Gemeinde Fischbachau im oberbayerischen Landkreis Miesbach. Sie war früher eine Wallfahrtskirche. Der Kirchenbau befindet sich unmittelbar neben der Pfarrkirche St. Andreas und gehört wie diese zur Kirchengemeinde Elbach im Pfarrverband Oberes Leitzachtal im Erzbistum München und Freising. Wie die benachbarte Pfarrkirche gehört auch diese Friedhofskapelle zu den geschützten Baudenkmälern, die auf der Liste des Bayerischen Landesamtes für Denkmalpflege verzeichnet sind.

Geschichte und Architektur

Baugeschichte
Die spätgotische Friedhofskapelle zum Heiligen Blut – ein dreiseitig geschlossener Saalbau mit einem schlanken Turm im Westen – wurde 1669/1670 durch Georg (II), Martin, Wolfgang und Hanns Zwerger in barockem Stil weitgehend erneuert und vergrößert, nachdem eine Seitenmauer und das Gewölbe der alten Kapelle eingestürzt waren. Der damalige Pfarrer Benno Plabst spendete die Hälfte der benötigten Baukosten. Die kleine Kirche wurde 1671 geweiht. 1791 wurde die ehemalige Wallfahrtskirche im Rahmen von Restaurierungsarbeiten mit Ankern stabilisiert. Im 19. Jahrhundert waren weitere Sicherungsmaßnahmen nötig. Das Gewölbe wurde 1855 und 1871 saniert, da es einen durchlaufenden Riss bekommen hatte. 1881/1899 wurde ein vierstufiger stützender Unterbau für den einsturzgefährdeten Turm geschaffen. Eine weitere Restaurierung erfolgte in den Jahren 1984 bis 1987.

Innenraum

Der dreiseitig geschlossene Saalbau zeigt im Innern einen durch Chorbogen abgesetzten Altarraum. Am Eingang ist eine monochrome illusionistische Portalwandmalerei mit einem Blut-Heiland zu sehen. Das Innere ist durch ein Tonnengewölbe mit Stichkappen über kannelierten Pilastern geschlossen.

Der reiche Stuck aus Schliersee besteht aus Girlanden, Vasen, Ranken, ganzfigurigen Engelsgestalten und einer Christusfigur mit Wundmalen.

Ausstattung
Der Hochaltar von 1633 von Stephan Zwinckh (Miesbach) ist mit Figuren eines Blut-Heilands und eines Vesperbilds, der Heiligen Petrus, Andreas und Augustinus sowie von Engeln mit den Leidenswerkzeugen ausgestattet; 1672 wurde durch die Künstler Zellner (Kistler), Leisberger (Maler) und Kofler (Bildhauer) eine neue Tabernakelzone eingefügt; seitlich befinden sich supraportierte Aufsatzbilder in Rokokorahmen mit den Heiligen Johann Nepomuk und Aloisius von Gonzaga. Die Seitenaltäre von Anton Niggl im Chor mit originaler Fassung aus der Zeit um 1760 sind mit Altarblättern der Heiligen Leonhard und Florian, Antonius von Padua und Sebastian versehen. Über den Portalen sind zwei Stuckreliefs angeordnet, die den Lanzenstich des Longinus in die Seite Christi mit dem knienden Stifter, Pfarrer Benno Plabst, und die Kreuzabnahme darstellen.

Ehemals waren die Wände mit unzähligen Votivtafeln behängt.

Orgel

Die Orgel in der Heilig-Blut-Kapelle ist eines der wenigen Instrumente, die in Bayern aus der Zeit um 1700 erhalten geblieben sind. Sie stand zunächst in der Kirche St. Andreas und wurde 1787 hierher versetzt. Das Instrument mit sechs Registern auf einem Manual und Pedal wurde im Jahr 2011 durch die Firma Orgelbau Linder restauriert. Die Disposition lautet:

Bei den Restaurierungsarbeiten von 2011 wurde die Orgel wieder weitgehend in den Zustand von 1853 zurückversetzt. Die ursprüngliche Balganlage mit zwei Keilbälgen, die von Hand bedient werden können, wurde im Unterkasten der Orgel rekonstruiert. Auch die ursprünglich vorhandenen Flügeltüren wurden ergänzt.

Literatur
 Georg Dehio: Handbuch der deutschen Kunstdenkmäler. Bayern IV: München und Oberbayern. Deutscher Kunstverlag, München, Berlin 2006, ISBN 978-3-422-03115-9, S. 262.
 Evelyn und Henning von Rochow: Die Kirchen St. Andreas und Hl. Blut in Elbach. Kunstverlag Josef Fink, Lindenberg 2002.

Weblinks

Einzelnachweise

Kirchengebäude in Europa
Pfarrkirche des Erzbistums München und Freising
Kirchengebäude im Landkreis Miesbach
Heilig Blut
Erbaut in den 1670er Jahren
Barockbauwerk in Bayern
Barocke Kirche
Saalkirche
Heilig-Blut-Kirche
Disposition einer Orgel
Wandpfeilerkirche
Bauwerk in Fischbachau

redpajama_set_name: RedPajamaWikipedia


Collective pneumatic mod assembly manual added!
The new assembly manual is here! It's been written right in the process of building the lever, so every smallest step is there to avoid possible issues. Follow it carefully, and you should have no problems assembling the lever!


This is in fact how the solution was created, but after some time, it became apparent that in order to maintain the solution in its glorious, lustrous, absolutely perfect texture (which they worked for weeks trying to perfect), the amount of Tempol needed to be reduced to 0.8% (basically 1%). In fact, even when 3.5% Tempol is introduced to the solution, it degrades itself to about 0.8% due to the preparation methods.
I confirmed with resident bio-chem expert "Swoop" (aka Swooping) as to whether 1% versus 3.5% would have any significant effect on people's hair status, and it was an unequivocal and clear "no". Not a lot of Tempol is needed to do its job, so all is well.
We also discussed the protective effects ascorbic acid plays on preventing the degradation of Tempol during heating and preparation, to help stabilize it. So there's a possibility if they add Vitamin C to the solution, they'll end up with a higher Tempol content after heating.
If you have any requests, ideas, or suggestions for topical compounds that might have benefits for hair loss, please post your comments in the comments area below. I've heard a lot of ideas bandied around like Minoxidil + Spiro, and some others.
Get the conversation going – and I'll make sure to direct the manufacturer here to see if they can make some of them.
You don't need to set up an account, and you can probably use a fake email – unless you want to get alerts about replies.
Copyright ©2019 HairLossTalk unless otherwise noted.


Search online for used Mazdas in Chicago at DriveTime.
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>>> I know this is a very useful message, but I can't help more.
>>> Are you expecting the same behavior ?
>> Sorry it seems that I compiled my world with WITHOUT_BIND.
> a complete BIND installation you can take a look at ports/dns/bind-tools.


text:
The Flower Above All Others
By Rebecca Calappi
If any flower deserves the title, "majestic" it's the sunflower. In recent years, the sunflower has enjoyed a burst of popularity, which has resulted in one of the most colorful festivals of the summer—the Sunflower Festival at Westview Orchards.
For two days at the beginning of August, sixth-generation farmer Katrina Roy, co-owner of Westview Orchards, hosts a festival devoted to the sunflower.
"It's the happiest crop we've ever grown. Just having something to give people a mental and emotional lift is wonderful. There's just something about it. It's a mental retreat from our everyday lives," Roy said.
Visitors should make reservations on the Westview website to save their space for the July 31 and August 1 event.
Wagons take visitors on a one-mile ride to the field. "Once they get to the sunflower field, we'll have almost six acres, that's six football fields, of sunflowers. New this year, we have cut flowers, zinnias, marigolds and cosmos that will be for picking, too." Roy said they planted even more sunflowers this year, so maybe visitors to Westview in mid-July will be lucky enough to see the golden waves of flowers.
The fields will also be peppered with different pieces of farm equipment for photo ops among the flowers. Also, there will be a big yellow and white tent, live music, wines and hard ciders, a variety of baked creations and food. A few surprises are also in the works and will be announced in the weeks just before the festival.
Additionally, Westview will offer yoga classes in the sunflowers.
At the festival, don't be surprised to see guests dressed in sunflower attire. In fact, plenty of sunflower merchandise will be available.
"It's a fun time to be creative. It's about the flowers. It's about the nature and capturing those moments," said Roy. "It just rejuvenates people and takes your worries away and gives you something to smile about. Being out there in the sunflowers gives you that."
For more info visit westvieworchards.com


If you want to get paid what you're worth, then you must choose a career where you can get into the revenue stream. That way the more you produce, and the better you are at your job, the more money you will make.
Would you be comfortable getting paid base upon your individual performance? Not everyone is, in fact, most people aren't comfortable getting paid based upon their individual performance. Individuals that work in Labor Unions are rarely paid what they are worth. In Labor Unions it's based on seniority, position, and just about anything else but their individual performance.
Labor Unions aren't the only place where you get some type of (perceived) security instead of getting paid what you're worth. There are a lot of positions where you get paid a certain amount whether you perform or not. And in some of these positions, whether Union or not, you might be performing better than the others in the same positions but everyone is getting paid the same. If you want to get paid what you're worth you must get out of this type of position and choose a career where you can get into the revenue stream.
Getting a position where you are in the revenue stream is key to getting paid what you're worth. Commission sales people have known this since the beginning of time, but there are other positions where this is attainable. All of the entertainment fields be it sports, music, movies, and the arts are paid based on what they're worth. That's why professional actors or football players can make more than schoolteachers. The actors and the sports stars are getting paid based on their success or performance and most schoolteachers are in Unions and are not paid based on their performance.
There is nothing wrong with being in a position, or striving to get into a position where it's impossible to get paid what you're worth, but there is something wrong with complaining about it. I get calls at my office from individuals in these positions and their standard complaint is they aren't making enough money. I cannot stress this enough. There are some positions where it's impossible to get paid what you're worth. If money is important to you, then find a position where you are in the revenue stream.
Being in the revenue stream means being compensated for your work. The more you do, the more you get paid. The better you are, the more you get paid. Your compensation should be incentive driven and tied to your success. Work under a commission system, contract, self-employed, or some type of bonus system tied to your success. As the revenue goes up, your pay goes up and is directly tied to the revenue stream. If you want to get paid what you're worth then you must choose a career where you can get into the revenue stream. I hope this helps.


Every year Christmas rolls around in the blink of an eye and you end up doing the same old thing you have always done. You decorate the tree with the same decorations, you have the same stresses about cooking the dinner on time and your children have the same sugar rushes when they eat all of their stocking sweets for breakfast. This year you're ready to make a much needed change to the way your household operates, whether you go on a family vacation, change the way you give gifts or invite more people round to your home. There are so many ways that you can all have a divinely different Christmas this year, so explore all of your options right now. There is nothing better than having a fun filled festive season bursting with new experiences. Get your entire family on board and show them all of the different ways you can celebrate the holidays, whether you're giving back to the community or reconnecting with distant relatives; you are bound to have a wonderful day no matter how you spend it.
Perhaps your family hate the chilly breeze that floats through the air at this time of year. When some people are making snowmen in the garden you are all huddled up in front of the fire wishing for the sun to shine. Why not jet off for some winter sun this Christmas instead of donning your woolen scarves and hats? Carlsbad in San Diego has a Mediterranean climate and you will find a shining sun in the sky for over three quarters of the year. Look for places to stay in Carlsbad ca and you could wake up on Christmas morning to the shimmering Pacific Ocean rather than unwelcoming white snow. Enjoy a relaxing retreat with your nearest and dearest without having to worry about the crazy Christmas clean up at the end of the day. Whether you're hoping for a rental home or a budget friendly hotel, you will find something to suit your family right away. The only things you will need to pack are your swimsuits and sunscreen, because it is bound to be one of the most relaxing Christmases you have ever had as a family.
If you aren't quite prepared enough to head off on a vacation this year, then why not choose to eat out for Christmas dinner? Every year you spend hours slaving behind the stove feeling the pressure more than ever. Whether you're trying to impress the in laws or work around the kid's eating schedule, cooking for a tonne of people is never easy. There are so many beautiful restaurants open at this time of year, so get your table booked and take the stresses away. You will probably end up saving a lot of money too, as everybody will need to pay for their own meals. Eating out for Christmas dinner is a budget friendly option that will make your day a little different and special.
Your children probably don't realize how lucky they are when they wake up to piles of presents on Christmas morning. There are so many homeless people who struggle to get a hot meal, let alone any presents. Why not offer to volunteer at your local shelter this Christmas day and ensure everyone in your local community has a delicious meal and kind person to talk to. Getting the kids involved will open up the eyes to how fortunate their lives are too.
Every year the people in your family spend a fortune on gifts that often get pushed aside and forgotten about. This year it might be time to say no to gifts or reduce the number of presents you give dramatically. This will reduce your costs for the festive season in a huge way and it also ensures you aren't being wasteful.
Why not invite some of your distant family and friends round to your home this Christmas? Perhaps they haven't seen you in a long time or they are going through a difficult take. Opening up your home to the people who really matter is what Christmas is all about, so see what your family can do this year.
If you know you have elderly neighbors living next door, then you might want to be their host for Christmas day. Many people might be spending Christmas day alone this year, so make sure you are thinking about the lonely people in your area. Setting one extra place at your dinner table really won't cause you too much trouble, but it could mean the world to somebody else in need.
When you change up the way you celebrate Christmas it can show your family the true meaning of this time of year. Giving back to the people in your community or trying out a new tradition will provoke curious questions from your little ones. They will soon be able to learn that Christmas is much more than receiving presents and eating copious amounts of chocolates. This time of year can be incredibly lonely and sad for many people, especially when they aren't as fortunate as the rest of us. Perhaps your family went through bereavement at this time of year and going on a vacation helps you to forget your sadness for a short while. So do whatever you can do to make your Christmas more memorable and special this year; your children will thank you for opening up their minds and hearts from such an early age. Sit down with your family over the next couple of days and think about what you would like to do this festive season. Instead of the same old traditions that have outgrown your family, it's time to do something a little bit different. Enjoy your divinely different Christmas this year, with all of the people who are closest to you.


Sobell, L. C. (2018). Motivational Interviewing: A Different Way of Talking with Patients to Help Them to Consider Changing Risky/Problem Behaviors. Professional Development Institute, College of Psychology, Nova Southeastern University.


So unfortunately we didn't really walk into a bar. But I did ask these fun little questions to collect answers from some friends and see how we all compared. This was too much fun and I had a feeling all our answers would be slightly different.
1. Your blood sugar is 8.9 mmol/L / 160 mg/dl. What do you do?
Ashlyn: Correct... unless I have IOB, then I leave it alone.
Kayla: I would leave it. I can't correct if it isn't over 200 or I will drop too low.
Craig: I correct! 160 mg/dl is my Dexcom "high," so I immediately start taking insulin (unless I've previously corrected for it and am waiting for that to kick in).
Michelle: Leave it. That's exactly where I'm comfortable.
Kerri: Consult my Dexcom graph and go from there. Single numbers can be misleading snapshots of what my blood sugar is doing, but putting that number into the context of my CGM trend graph helps me decide if that 160 mg/dL is going to be corrected or if it's already trending down. Or up.
2. What is your biggest diabetes pet peeve?
Kerri: My biggest diabetes pet peeve is definitely diabetes. Full stop.
Ashlyn: My biggest pet peeve is when people walk up to me and TOUCH my devices on my arms. When did it ever become okay to touch a stranger?!
Kayla: People say "You don't look like you have diabetes." That's a really hurtful comment to hear because type 1 Diabetes is an invisible illness. You can't tell if someone has type 1 or not by looking at them. Society has been taught only about type 2 Diabetes and we need to spread more awareness on type 1.
Craig: When your blood sugar is high at night and you take your correction and wake up two hours later and nothing has happened. And then you do it again, and again, and again, and then it's morning and you've gotten no sleep and you're still out of range.
3. Would you rather be high or low?
Ashlyn: Low. Being high makes me feel disgusting.
Kayla: I would rather be low than high. Being high is the worst to be. Having highs are the worst because sometimes I throw up!
Craig: Being low is the worst feeling in the whole world but at least I can eat something and be back in range in 15 minutes; however, when I'm high it can take hours for that to get back in range and then I feel crappy that whole time. Low wins out barely.
Michelle: High. As per the last question.
Kerri: Ugh, this is a rough question. My knee jerk reaction is to prefer a high blood sugar over a low, because lows immediately make me feel like both my safety and the safety of my children is at risk. But long term highs compound and cause the stuff I have nightmares about, so that's not optimal either. Can I go back to being 160 mg/dL?
Craig: Pump! I did MDI for my first 10 years with T1D and I don't think I could go back.
Kayla: My pump! It makes Diabetes mentally easier on me.
Michelle: MDI. Good old school syringes.
Kerri: Pumping all day, for me. My brain is scattered and if I didn't have my insulin attached to me, I'd forget to take it. That, and I was never a fan of poking my skin repeatedly throughout the day.
5. Your BG is low and you have nothing on you to treat it. First thought?
Kerri: Ooooh, a scenario! Am I stuck in traffic? Because if that's the case, I definitely have some rogue Cheerios or some smushy granola bar smuggled away somewhere in the car. (My car is never truly "empty" or "clean.") Am I on a run? Time to sprint and see if I can use some adrenaline to boost my BG, or perhaps knock on a neighbor's door to see if I can borrow a snack. But the truth is that being low and without something to treat it with is a scenario I fear a lot, and actively plan against. I don't carry this giant purse without reason.
Ashlyn: Where is the nearest vending machine?
Kayla: I will eat my hand if I have to live at this point! Jk.
Craig: More often than not this is my real life—I'm really bad at remembering to buy more low supplies. I hang out with enough people with T1D (like when I go running with Type One Run) that someone always has an extra something to give me, but if I'm not with them I just find the closest food I can, like juice at Starbucks, 7-Eleven, McDonald's.
Michelle: I'd wonder how many times I need to be in this situation to learn my lesson, then go try and find a store or vending machine.
6. You're on your way to an important appointment/meeting and realize you forgot your insulin at home. Do you go back home or leave it?
Kayla: I would go back for my Insulin. Nothing comes before my health.
Ashlyn: Depends on how far away and how long the appointment/meeting is. If it'll be a long day, I go back and risk being late.
Craig: It would depend on how far away I'm going. If it's not that far and I don't plan on eating, then I'd just go to the meeting. If I go a little high for an hour or so, no big deal in the long journey of my life. If it's far away and I won't be home for many hours, I'd go back and get it.
Michelle: Leave it and hurry home after.
7. Do you like being asked about your diabetes or not? Or could you take it or leave it?
Craig: It depends on how the other person is asking. If they're genuinely interested, then I'm always happy to talk about T1D, but if I sense judgement or disgust, I don't feel like I always have to fight that battle. Sure, we're all advocates for T1D, but we're also people too and sometimes we just want to get our coffee and leave the store without dealing with all that negativity. You have to know what battles are worth fighting or you'll burn out.
Kerri: I like being asked, most of the time, if someone is looking for more information, or to see if I'm doing okay. I appreciate their concern and friendship. But if you want to peek over my shoulder and run commentary about my CGM graph? No thank you. You can go sit over there, please.
Ashlyn: Yes! I love it when people ask because I love to educate!
Kayla: I love when people ask me about my Diabetes. I got Diabetes at 16 so I was never teased or made fun of in school for it. I never hid what I have nor am I ashamed to talk about it. I never get sick of educating others about type 1 Diabetes.
Michelle: Yeah I'll take any opportunity to educate. Sometimes I'm tired though.
8. How much do you care about your A1C on a scale from 1-10? 10 being most.
Michelle: 4? Because more and more data is coming out that the A1c doesn't really reflect your diabetes health. For example, I know my control isn't optimal. I'm usually on a rollercoaster. But I come out of it with a good A1c, because when you average all those highs and lows, it looks good.
Ashlyn: Eh... 3. With all of the data that I have at my fingertips daily with technology, my A1C is just another number.
Kerri: I'll put my concern on the 7 level, so long as my A1C isn't truly high. Perspective matters. Time in range matters so much to me, as does standard deviation. But I'm an old school PWD, and my A1C is synonymous to a report card on my diabetes. It's a hard habit to break, that feeling of judgment and fear.
Kayla: I do care about my a1c but I don't let it get me down. As long as I am trying my best that's all that matters. I would say a 7, I care for health reasons. Just to control long term complications.
Craig: I think that A1c is a very stupid number that doesn't tell you anything about your control. I remember being 5.8% once and my endocrinologist being mad at me because I was low so often and that really changed my perspective on what "control" is. Now, what matters to me more is the amount of time I spend in range. I care about my A1c in the sense that I want to be healthy and my blood sugars to be in range, but the actual number is pretty meaningless to me.
9. You see something you really want to eat but it has 90 carbs. Do you eat it?
Kayla: No. Not taking chances on feeling like trash!
Craig: Always. Just because we have T1D doesn't mean we aren't people. Live your life and fit diabetes into that, don't fit your life into diabetes.
Kerri: No … wait, what is it? Is it made with lemon? I might be swayed for something lemony.
Michelle: Depends on the day but yes. Then take all the insulin. Cheesecake? Heck yes.
10. Do you believe there will be a cure in 5 years?
Ashlyn: I don't think so, sadly. I think we live in a world where money rules everything and right now, diabetes is too big of a money maker for anyone in the right industries to really want to cure it.
Kayla: No I don't think we will have a cure. I think we have been controlled by the government with the pharmaceutical industry. I really hope one day we do have a cure though.
Craig: Nope. I don't worry to much about finding a cure, just making life easier for people living with T1D. Humans have never cured an auto-immune disease, so I don't expect curing T1D to be easy or quick.
Michelle: I wish I could but I struggle to believe it! Then at the same time I want to be hopeful for all these little kiddos being diagnosed. But I do really struggle to believe it.
Kerri: I hope so. I always have hope. But just in case, I'll keep working hard to live well with diabetes.
Biggest diabetes pet peeve: people see my pump and ask "is that a pager????"
1.I'd leave it unless i'm about to eat something that'll probably get me high in a few hours.
3.High cause sometimes i don't even feel it unlike lows.
4.Never tried a pump so MDI.
5.I've got anxiety so I know for a fact that i'll always have something with me to treat a low cause this scenario is always in the back of my mind but if it does happen i'll either run for help of freeze and die there's no between.
6.It depends on how long i'll be gone and also the disrance if it's close by i'll just hurry back home when i'm done.
7.I usually love talking to people about diabetes cause i might be able to raise some awareness but some people are just a lost cause i try to wrap it up and run away as fast as i can.
8. Probably an 8 cause i can't handle the disappointment in myself and the wave of anger coming from my doctors and family if it gets a bit higher.
9.Depends on what the food is tbh.
10.I don't think so. I'm with Ashlyn on this one.


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text:
Professor: I 'DEMAND That White Editors Resign'
The 'Squad' Gives a Gift to Donald Trump
We All Wanted to Love the Women's Soccer Team
White-Nationalist Charlottesville Killer Given Extra Life Sentence Plus 419 Years in Prison
Republicans Take an Important Step Back into the Environmental Debate
This Captive Nations Week, America Must Stand with Those Struggling for Freedom around the World
Ninth Circuit Hands Trump Administration Win in Sanctuary-City Case
By Katherine Timpf
About Katherine Timpf
Follow Katherine Timpf on Twitter
Randa Jarrar	 (News10 via YouTube)
Since when did it become okay to disqualify someone from a job because of his or her skin color?
A controversial English professor at California State University–Fresno is demanding that all white editors resign from their positions immediately.
In a Tuesday tweet on her private Twitter account, which was obtained by Campus Reform, Randa Jarrar stated:
At some point, all of us in the literary community must DEMAND that white editors resign. It's time to STEP DOWN and hand over the positions of power. We don't have to wait for them to [f***] up. The fact that they hold these positions is [f***] up enough.
Jarrar has previously made headlines for celebrating the death of former first lady Barbara Bush.
In Tuesday's tweet, Jarrar was apparently responding to a recent controversy surrounding the publication of a poem in The Nation — "How-To" by Anders Carlson-Wee — which was deemed racist and ableist.
The Nation's poetry editor, Stephanie Burt, has since published an apology, along with another of the publication's editors, Carmen Gimenez Smith.
"When we read the poem we took it as a profane, over-the-top attack on the ways in which members of many groups are asked, or required, to perform the work of marginalization," the apology stated. "We can no longer read the poem in that way."
Obviously, Jarrar is not accepting this apology, as she commented on an apology tweet from Burt with the word "Resign." It was one minute after posting this tweet that she posted that follow-up tweet stating that, in fact, all white editors should resign, regardless of whether or not they had actually done anything wrong.
This is ridiculous. It's one thing to call out specific editors for making specific mistakes; it's entirely another thing to suggest that an entire race of people cannot be editors only because of their race.
Unfortunately, however, this sort of idea is far from unheard of. In fact, the tendency of many social-justice warriors to want to silence some voices — particularly the voices of white males — has become so pervasive that Barack Obama recently commented on it.
"Democracy demands that we're able to also get inside the reality of people who are different than us, so we can understand their point of view," Obama said during a speech last week. "Maybe we can change their minds, maybe they'll change ours."
"You can't do this if you just out of hand disregard what your opponent has to say from the start," he continued. "And you can't do it if you insist that those who aren't like you because they are white or they are male, somehow there is no way they can understand what I'm feeling, that somehow they lack standing to speak on certain matters."
On this issue, Obama is right. Although there are certainly white editors out there who have made mistakes, there are also plenty of white editors who have added valuable things to the conversation through their involvement in journalism. I shouldn't even have to say this, but the worthiness of a particular person to have an editing position should not depend on the color of that person's skin. It should depend on how well he or she does the job. Diversity is important, but excluding every single white person from every single editing position is not the way to achieve anything valuable. Rather, it is a way to ensure that we miss out on what could have been valuable contributions from people who happen to be white.
Katherine Timpf is a reporter for National Review Online. @KatTimpf


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Tonight on Friday Night Smackdown: It's a Decade of Smackdown Celebration. Superstars from all three brands converge on WWE's network television property for a night of fun that culminates in the biggest eight-man tag in Smackdown history. Should be a good one!
And we are "TAPED!" from Boston, Mass. Todd Grisham and 2007 WWE Hall of Famer Jim Ross are our hosts. This show is presented in WWEHD (TV-PG,V).
Our first Smackdown moment is Batista and Rey Mysterio winning the WWE Tag Team Championship from MNM in late 2005. Coincidentally, those two men will meet Chris Jericho and the Big Show at Hell in a Cell.
Kane with a back suplex and a stomp to the head. Kane goes to work on the left arm of Batista. In a hammerlock, Batista powers his way out and pushes Kane over the top rope.
We're back and Kane is back to work on the left arm. During the break, Kane got the advantage by hitting Batista with a big boot, sending him off the apron and to the floor. Batista gets up and they hit each other with big boots.
They start sending each other from corner to corner but Kane hits the sidewalk slam. He goes to the top rope and hits his flying clothesline and calls for the choke slam.
Kane goes for the choke slam but runs right into a spinebuster for two. Batista comes out of the corner for a clothesline and then he goes to the top rope. Batista comes down and lands right in the choke slam. He counters and charges but Kane sidesteps him and sends him into the corner. Kane mounts him in the corner throwing punches but Batista picks him up and hits the Batista Bomb.
We go to the back to the party when Theodore Long is meeting and greeting people. He stops to talk with Maria and Michael Cole. Hornswaggle then comes up and slaps Maria in the behind, causing Cole to scream, "VINTAGE HORNSWAGGLE." I laughed heartily.
Cole insists they have some light beer when Finlay comes up and changes the order to four Irish Whiskeys cause Cole to exclaim, "VINTAGE FINLAY!" Long declines but Finlay talks him into it. Finlay calls a toast and right as Long is about to put down his whiskey, CM Punk steps in telling him to not drink that. Cole yells, "VINTAGE PUNK!" Punk runs him off. Punk asks them if they are ashamed of themselves. He says as long as he's World Champion, there's no more alcohol on Smackdown, it's PROHIBITION RULES.
Long starts walking away when we hear a familar voice, "EXCUSE ME!" Oh yes, Vickie Guerrero is back. She asks Long for a peck on the cheek. She chastises him for lifting the ban on Hell's Gate. Then a new person comes in, Guerrero's new boyfriend — Eric Escobar, who was signed by Mr. McMahon to Smackdown. And there's more — Guerrero will return to Smackdown to manage him.
Then Santino Marella puts his hand on Long's shoulder impersonating the Undertaker. Before changing his pants, Long downs his shot.
We're back to the party where Cole is going on about "vintage shrimp." Cole is in the bag already. He asks Hornswaggle for more shrimp but Hornswaggle just kicks him in the knee.
Hornswaggle then goes to the VIP Lounge. MVP and Mark Henry let him in, but leave Zack Ryder out. He tries to woo them with money. Henry says he'll be let in if there's room. Then Matt Hardy and all the Divas come, then Sgt. Slaughter is let in all while Ryder is left on the outside. Then, it gets better, THE IRON SHIEK is let in. Ryder asks, "you're gonna let the Iron Shiek in and not me?" To which Shiek retorts, "Woo woo woo, you know it, JABRONI!" Bwhahahahaha.
Grisham and Ross then kick it to a great video package of Eddie Guerrero. The crowd responds with a standing ovation and "EDDIE!" chants.
Grisham and Ross are joined on commentary by Raw's Jack Swagger.
Well, maybe Swagger won't be joining commentary. He throws the headset down during Kingston's introduction.
The Miz and Morrison have their first in-ring confrontation since breaking up to start the match. Miz takes a brief advantage but Morrison tosses him over the top rope.
We're back and The Miz is in control of Kingston, working a chinlock. Kofi stands and punches out of it but eats a knee. Miz and Ziggler try to double team Kingston but it backfires. Ziggler is able to run and stop Kingston from making the tag and hits a big jumping elbow.
Miz gets the tag and tries to charge at Kingston in the corner but Kingston moves, posting Miz. Both men tag and Morrison is the proverbial House of Fire. hitting a leg lariat and a standing moonsault for two.
Miz tries to get involved but is taken out by Kingston. Morrison goes to springboard, but Ziggler crotches him and hits the Zig Zag for the win.
Backstage, Kung Funaki and YOSHI TATSU are doing karaoke to Shawn Michaels' theme music. Then Jillian Hall jumps in and the music stops. Then it cuts to Slaughter and Sheik trading "USA!" and "Iran!" Slaughter says, "USA, you maggot!" and Sheik responds "Iran, you jabroni!" Shiek then starts choking but is saved by The Hurricane. The shrimp Sheik was choking on flies onto Cole and Finlay's table, where Cole, wearing a cowboy hat and completely in the bag, eats it, yelling "BOOMER SOONER!"
Jericho and Big Show walk up and the music stops. They say they should be the guests of honor since they were on the first episode of Smackdown. Cole then vomits on Jericho's shoes. Show looks at it and vomits himself. Tony Atlas chuckles and Joey Styles yells, "OH MY GOD!" This is like WrestleMania, they're just getting everybody on the show.
Now Justin Roberts kicks it to the moment we've all been waiting for. A video taped promo from The Rock.
Rock looks at his script and asks, "Who writes this?" and throws it away. They go through a bunch of awesome retakes, including Rocky asking who in the blue hell is Dolph Ziggler.
And finally ... The Rock has come back to Smackdown. I can't do this justice. Find it, watch it, love it.
Melina hits a flapjack for two. Jillian Hall grabs Melina's foot and it sets off a pier-six brawl among the Lumberjills. In the ring, Melina goes to the top but is crotched by Beth Phoenix. McCool grabs her and hits the Faith Breaker.
Now it's Undertaker's time to cut a taped promo. He says Punk soon will need all the things he swears off. Welcome to Hell in a Cell.
Back to the party where Drew MacIntyre grabs the mic and says he'd like to make a toast — to himself. He's then attacked by R-Truth and they brawl right into the huge Smackdown birthday cake.
Cena with a bulldog on Rhodes and tags in Triple H who socks Rhodes. Rhodes tags DiBiase. Triple H with an armlock. Michaels in and DiBiase gets some moves in before eating a boot. Michaels and Undertaker stare each other down after a blind tag. Taker hits Rhodes and they stare some more. Then he goes to work on Rhodes.
We're back and Undertaker is still working Rhodes. Triple H back in and hits a delayed vertical suplex. But the tides turn and DiBiase gets some work done on Michaels. He tags in Orton. Now it's double, triple team time on Michaels with the referee distracted. Orton works a, you guessed it, chinlock on Michaels. Michaels back suplex's his way out but cannot make the tag. Orton gets to Rhodes. Michaels finally tags Cena.
Quickly to the Five Knuckle Shuffle for Cena. He lifts Rhodes for the Attitude Adjustment but DiBiase makes the save. Cena then tries to hit it on both DiBiase and Rhodes but they slither out and high/low Cena.
We're back and Punk is working on Cena. He tags in Orton. Cena goes for the AA, but Orton gets out and hits a DDT Jake Roberts would be proud of. DiBiase in and he puts Cena in a headlock and hits a clothesline. Both men go down and tag in Punk and Triple H. High knee by Triple H. Low knee and a clothesline into a spinebuster. Triple H brings in Undertaker and Punk runs and tags an unwilling Orton.
Clothesline, Snake Eyes and a big boot by Taker. He is moving. But Orton gets him in and hits the backbreaker. He goes for a pin but gets locked in Hell's Gate but is saved. DiBiase goes for Dream Street but is Superkicked by Michaels. Cena AA's Punk to the outside onto Legacy. All four faces surround Orton in the ring and Undertaker hits the Tombstone for the win.
Blue and silver confetti drops as the winners celebrate in the ring.


Across the country, communities are facing weather-related challenges such as stronger storms, more intense flooding, and harsher droughts and wildfires. The Fourth National Climate Assessment, released in November 2018, examines natural changes affecting the United States and what they could mean for the American way of life. The massive report concludes that community resilience, aging infrastructure, and economies that are dependent on stable natural systems—including agriculture, fishing, and tourism—will all be disrupted. Even electricity production might be affected as temperatures continue to rise.
According to the best science, these observations are not flukes: weather patterns are changing permanently. Storms like hurricanes Sandy and Maria, fires like the Camp fire and the Tubbs fire, and droughts like those that have affected California and the Great Plains are events that are here to stay.
Sea level rise (SLR) is one of the most robustly modeled—and worrisome—natural changes that scientists are tracking. Both real-world experience and scientific models strongly suggest that higher seas are associated with stronger coastal storms. On average, global sea levels have risen between 7 and 8 inches since 1900, with nearly half of that rise was in the last 25 years. By 2050, we can expect at least another 6 inches of SLR and up to 4 feet of SLR by the end of the 21st century—and the rate of increase is accelerating.
Not only are these patterns changing, but the potential investment losses are increasing. Rising seas threaten more than $1.4 trillion of coastal property, even as development of these areas continues. All development carries risk, but experiences following recent disaster events suggest that concentrated investment in high-risk areas multiplies the potential losses. For example, California's 2017 Tubbs fire burned nearly the same area as the 1964 Hanley fire, but while the Hanley fire destroyed fewer than 100 structures, the Tubbs fire destroyed 5,600 structures—making it the most destructive fire in state history at the time.
Over 60,000 miles of vulnerable roads and bridges that are built in floodplains have already required billions of dollars in repairs after intensifying storms. Indeed, damage to at least one major bridge has been conclusively tied to SLR (which is notable given the widespread hesitation of experts to attribute damage or storm events to causes like SLR).
In response, coastal communities worldwide are taking steps to implement mitigation and adaptation strategies; some are even relocating to areas with lower flood risk. Most communities, however, are investing in seawalls, reinforcing natural shorelines, and developing "floodable" structures and green spaces. A world leader in this approach is the Netherlands. With much of their land at or below sea level and with a long history of adaptation to water, the Dutch are beginning to export their strategies to the United States, encouraging Americans to creatively combine water management and urban planning so that cities can live with water more resiliently.
Right now, this adaptation is only happening on an ad hoc, city-by-city basis. Ninety-five percent of U.S. cities have reported "[experiencing] a change to at least one climate impact" in the last five years, leading 60% of those cities to expand their climate policies and resilience measures.
These changes cost money. Efforts to raise homes and construct protective beaches in Norfolk, VA, rely on several sources of federal funds, while Miami, FL—lacking access to such support for adaptation—is turning to municipal bond markets and creative financing mechanisms to ready its infrastructure. Smaller communities with more limited tax bases have fewer options for funding adaptation. The commitment of planners, city managers, and other local experts to prepare for (and fund) these strategies is encouraging and hopeful but can and should be taken much further.
The natural next step for policy makers looking to encourage resilience in their communities is to support a federal mandate that requires communities to prepare for the intensifying natural disasters that will result from SLR—and to back that mandate with a dedicated pool of funds to see the preparation to fruition.
Within a year and a half, the office was supported by legislation as a Cabinet-level department, bringing together all or part of 22 disparate federal departments and agencies.
Months after Hurricane Katrina tragically exposed shortfalls in national preparedness, Congress passed the Post-Katrina Emergency Management Reform Act of 2006, requiring the Federal Emergency Management Agency (FEMA) to review and validate local and national preparedness for both natural and human-caused catastrophes.
SLR and increasingly destructive storms have not created the same urgent push for action. Perhaps this is to be expected, given that they are seen more as part of an expected (if worrisome) pattern than as individually shocking events. Yet, weather-related disasters can be just as deadly: Hurricane Maria alone caused nearly the same number of fatalities as the 9/11 terrorist attacks, and Hurricane Harvey was responsible for greater immediate economic damages than that 2001 world-changing event.
In short, disasters like those associated with SLR can be just as devastating as a terrorist attack, but they are far more predictable and preventable. Rigorous scientific projections clue us in to how we should prepare and recommend the timeline for preparedness.
This predictability is the key difference between a human-caused disaster and a natural one: there is little risk of surprise, so there is no excuse for failing to prepare.
Kathryn Strelevitz is a researcher at Fors Marsh Group (FMG) with experience conducting both academic and product-driven research in environmental change, social change, and national security. At FMG, Kathryn supports the Public Policy Evaluation team's work with the Federal Emergency Management Agency (FEMA) to improve national preparedness for disaster events.


text:
Q: python - to extract a specific string I have a string like :
    string="(tag, index: develop-AB123-2s), (index: develop-CD123-2s)"

I want to extract only "develop-CD123-2s", i.e. the string that comes after "(index:" and not the one with tag. How do I do in python? Thanks!

A: Warning: I'm not the best at regex
import re
s='(tag, index: develop-AB123-2s), (index: develop-CD123-2s)'
print re.findall("\\(.*?index: ([^)]+)", s)[1]  # 'develop-CD123-2s'

Regex Demo
Alternative regex
re.findall("index: ([^\s)]+)", s)[1]

A: >>> string.split("), (")[1].split(":")[1].split(")")[0].strip()
'develop-CD123-2s'
>>>

The first split separates each tuple, then split on : and take the second result

A: You could do it like this:
string = "(tag, index: develop-AB123-2s), (index: develop-CD123-2s)"

string = string.split('(index:')
string = string[1].strip(')')
print(string)

split the string on (index: and strip off the closing curly bracket

A: One way is using python regex - positive lookbehind assertion
import re
string = "(tag, index: develop-AB123-2s), (index: develop-CD123-2s)"
re.findall(r"(?<=\(index:) ([^)]+)", string)

This pattern only matches things that start with (index:. You can also look at negative lookbehind assertions to try and match the (tag, part.

redpajama_set_name: RedPajamaStackExchange


text:
'use strict';

var check = require('../check');
var glyphset = require('../glyphset');
var parse = require('../parse');
var path = require('../path');

// Parse the coordinate data for a glyph.
function parseGlyphCoordinate(p, flag, previousValue, shortVectorBitMask, sameBitMask) {
    var v;
    if ((flag & shortVectorBitMask) > 0) {
        // The coordinate is 1 byte long.
        v = p.parseByte();
        // The `same` bit is re-used for short values to signify the sign of the value.
        if ((flag & sameBitMask) === 0) {
            v = -v;
        }

        v = previousValue + v;
    } else {
        //  The coordinate is 2 bytes long.
        // If the `same` bit is set, the coordinate is the same as the previous coordinate.
        if ((flag & sameBitMask) > 0) {
            v = previousValue;
        } else {
            // Parse the coordinate as a signed 16-bit delta value.
            v = previousValue + p.parseShort();
        }
    }

    return v;
}

// Parse a TrueType glyph.
function parseGlyph(glyph, data, start) {
    var p = new parse.Parser(data, start);
    glyph.numberOfContours = p.parseShort();
    glyph.xMin = p.parseShort();
    glyph.yMin = p.parseShort();
    glyph.xMax = p.parseShort();
    glyph.yMax = p.parseShort();
    var flags;
    var flag;
    if (glyph.numberOfContours > 0) {
        var i;
        // This glyph is not a composite.
        var endPointIndices = glyph.endPointIndices = [];
        for (i = 0; i < glyph.numberOfContours; i += 1) {
            endPointIndices.push(p.parseUShort());
        }

        glyph.instructionLength = p.parseUShort();
        glyph.instructions = [];
        for (i = 0; i < glyph.instructionLength; i += 1) {
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redpajama_set_name: RedPajamaGithub


text:
Franklin the Celebrity
As in the case of his career as commander-in-chief, Washington's most important act as president was his giving up the office. The significance of his retirement from the presidency is easily overlooked today, but his contemporaries knew what it meant. Most people assumed that Washington might be president as long as he lived, that he would be a kind of elected monarch like the king of Poland. Hence his retirement from the presidency enhanced his moral authority and set a precedent for future presidents.
— Gordon S. Wood
Empire of Liberty: A History of the Early Republic, 1789–1815 (2009)
The greater the chaos, the greater will be your merit in bringing forth order.
— George Washington, 1781


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text:
Comi Comi
Members of the World Show
ornumtrauts.substack.com
Lei Yamabe & Yuki Okumura versus the World
Stuart Munro
Another devastating summer has run its course with an avalanche of red tape and extreme weather. Lei Yamabe 1 from a partial base in Belgium had curated this summer's exhibition "Landslide to be lived off and/or tongues to be deadpan," 2021, @misakoandrosen, Tokyo. But it was widely known that Yamabe was also the pen name of artist Yuki Okumura.
Okumura studies other people. "The Man Who, An Ephemeral Archive" in 2019, "29,771 days – 2,094,943 steps" in 2019, "Welcome Back, Gordon Matta-Clark" in 2017, "Hisachika Takahashi by Yuki Okumura" at Maison Hermes Le Forum, Tokyo, in 2016, even "Shuzo Azuchi Gulliver & Yuki Okumura: Shi" in 2014, were all agents of his own curiosity.
His film The Man Who (2019) invited Marja Bloem, Michel Claura, Herman Daled, Michele Didier, Rudi Fuchs, Yves Gevaert, Kasper Konig, Jean-Hubert Martin, and Phillip Van den Bossche to share memories of Japanese conceptual artist On Kawara and Dutch conceptual artist stanley brouwn. Without mentioning names they simply referred to "him", a man who was part Kawara and part brouwn.
And with Hisachika Takahashi, Okumura had found an artist whose life had also been shaped by another, having spent forty years or more as assistant to Robert Rauschenberg in New York.
For Okumura, "The Knowledge and Beliefs of the World" in 2018, was different again. He was closer in age to the other two artists, Yasuko Toyoshima and Eri Takayanagi. Reworking their texts made them closer still. At one point, Toyoshima even described a collective alter-ego: members of "the world" show.
Diffuse, the anecdotes in The Man Who (2019) were anything but descriptions of interesting or quiet people and more fragmented, pulling other characters into their collective orbit. My own fragmented situation I found myself being bent out of shape by a vaccine injection. Had my own piece of writing mimicked the reworked sentences stacked precariously like a deck of cards?
The bundle of forms crammed into an envelope were handed to the nurse who handed them back just as quickly, pulling the needle from the top of my arm. Eventually, I was ushered through a field of other patients, hot and flustered as if blown across the room by a mass of warm air. I was suffocating behind a paper mask, gasping for oxygen.
Everything fizzed with sound from where I lay moments later, recovering from surprise shock of it all. I stared at smoke alarms on the ceiling and felt as if falling backward through a hole of high blood pressure, ice cold and drenched in sweat. My tongue tasted metallic and the doctor's warm hand sparked a gentle charge by touching the back of my cold wrist.
I left exhausted an hour later, bombarded by heat that bore into my face like a drill. Should this weather be celebrated or mourned, I wondered?
Summers were once magical. Now they felt unhinged.
Demolished man: Kon Ichikawa's epic documentary Tokyo Olympiad (1964)
"The Knowledge and Beliefs of the World" in 2018 had featured Okumura alongside Yasuko Toyoshima and Eri Takayanagi. Okumura treated their written statements one as a strange hybrid, adopting parts of each himself to ask whether exhibitions were really that necessary. There was no real answer, just as there was no way of telling who each of them were unless you knew beforehand. For all intents and purposes they were characters as much as real people. This became my own starting point.
I had visited the show but struggled to describe it in any meaningful way. Artworks were so subtle it would have been easy to think they were just aloof. When it came to presentation, Okumura trod a fine line between himself and the other two, rewriting statements by Toyoshima, Takayanagi and the curator Tsuyoshi Ueda — Statement: Sequence (2018), Statement: Self-Observation (2018), and Statement: Correlation (2018) — by building the character of someone as the sum of other parts and other people.
Perched on hooks each text was a sheet of laser printed A4 paper mounted on double-sided aluminum, which needed gloves to turn them over. Texts were seeded with a vocabulary that he called a "landslide" of grammar ploughing through each letter. They resembled a poem and manifesto rolled into one. One side was written in Japanese with the other in English. And the combination of the two meant one or the other could happen without the need for translation.
"I am capable to negotiate the threshold between inspiration and exploitation," he wrote at one point. Did it matter, he asked, where each set of words came from where they ended up?
It was a vocabulary shared with his a long term project, "Hisachika Takahashi by Yuki Okumura" (2016), which unpicked the life of Takahashi, an elusive artist drawn alongside the generation he grew up with. A former assistant to Robert Rauschenberg, Takahashi's "From Memory Draw a Map of the United States" (1971-72) for instance tasked friends and contemporaries of the day, like Jasper Johns, Gordon Matta-Clark and Lawrence Weiner, with drawing their own map of America from memory.
These drawings relied as much on imagination as they did the real contours of a map. But the Komagome SOKO show involved three real, not imaginary people. Takayanagi used real objects — a pocket calculator, felt blanket, an old coffee — designed with real people in mind.
"The Knowledge and Beliefs to the World" 2018, Installation view at Komagome SOKO. Photo by Keizo Kioku, Courtesy of TALION GALLERY
"Artists generally show what they want to behold," wrote Okumura, reworking Ueda's quote from Julius Ceasar's The Gallic Wars, "Men generally believe what they want to believe." Updated, the men were now everyone. Their objects strewn across the floor and up walls resonating with realness.
Toyoshima's Pata-Pata (2017) was a Jacob's ladder of wooden blocks hung between the floor and gallery ceiling flipping between two-sided characters for sky (ten) and ground (chi). Her long interest in portraits were shaped by hidden forces found in the unlikeliest of places. One example not on display Mini Investment (1996–) produced a self-portrait out of thin air.
In it she bought partial shares in a nondescript company but the investment was locked and impossible to benefit from. Without buying them outright she could only look on and watch their value rise and fall. There was no financial reward, just a picture of her investment.
The uncertain market was a mirror. Checking the condition of shares became a daily routine. Each day she would check to see their value. Had it risen or fallen? She simply watched on unable to influence them in any way. The investment and auto-portrait gave new meaning to the phrase "investing in yourself".
In one sense, Toyoshima had been reduced her self to the image of a line chart. Her character had replaced mood and feeling for stock markets around the world. With Pata-Pata (2017) Looking skyward or at the floor, Mini Investment (1996–) was time she spent staring at the share value, 'looking' was a way of investing in something offering something in return.
Ornum Trauts, New World, 2016
Night fell on Osaka's Shinsekai ("New world") as people stuffed their faces. Shuttered shops lined busy streets. Theatre filled every moment and every mouthful. Lard was ladled from barrel to boiling oil as taxis narrowly avoided a cyclist spitting wildly at the street. Faces in the crowd sent the cyclist into a flail of arms and legs, struggling to wave and stay upright. And all the while people looked on undeterred and hungry, finding it hard to digest the drama mid-mouthful. As poet Tan Lin once remarked, anticipation is an interesting and difficult thing to (re)produce.
The Big Roof pavilion in 1970 hung like a summer storm cloud at night. Lights at Osaka's EXPO'70 dimmed as signs illuminated the expectant crowd. Their curiosity was barely visible in footage from that night now streamed online. 2 An overhead screen was filled with a succession of titles that begin, A Drama of a Human Being and Objects.
Thousands sat as stragglers weaved through the forest of legs searching for somewhere to sit. No one knew what to expect or maybe they simple don't care. A young woman stared off into the distance, not noticing the man vying for her attention and children were drowned in the sound of everything else. Everyone seemed unaware they were equally a part of this spectacle as the event they were here to see. They were spectators caught up in the frenzy quietly influencing them.
Japan's first official World's Fair presented a postwar conundrum. The theme of "progress and harmony" running contrary to regeneration was not an optimism shared by everyone. Witnesses to this upheaval were artists collectively known as Gutai, a group of cultural avant-garde outliers concerned with depicting a flawed, uncertain future with humour. Their name defined in simple terms as 'tangible' and 'certain' also ran contrary to a collective conscience, eager to leave a strict past for uncertainty and freedom.
Yet contradiction was the tool (Gu) that bound a postwar world together (tai). The group's figurehead Jiro Yoshihara no doubt sensed this early on writing in their 1956 manifesto, "the human spirit and matter, opposed as they are, shake hands", but that handshake quickly became a tussle. At the heart of Gutai was the idea that materiality had become revenant, seeking revenge for years of unsustainable growth. Yet no sooner had infrastructure sliced through the city and the countryside that Gutai disbanded, vanishing as suddenly as it appeared and giving way to an industry of unforgiving change.
As captivating as the the Expo pavilion footage was, it pictured the promise of change in fragments. The celebration that night felt incomplete without the landscape which played host. "The Atrocity Exhibition" (1970) J.G. Ballard's 'condensed novel' that year, echoed the film's sense of estrangement. Its first chapter had also appeared much earlier in the British science fiction magazine New Worlds. This time, images were characters attempting to escape a landscape of media and tumultuous events from the year before. Navigating this turbulence meant the physical landscape had been reshaped with its own form of confusion.
Bodily clefts and landmarks looked the same. Characters who had died early on reappeared. Assassinations became a sporting event mapped in slow motion and timed to precision. Space travel became a metaphor for Politicians docking policies and jettisoning responsibility. Thrust and drag were components in a language of bodily gesture and the Saturn V rocket carrying astronauts to the moon.
The book's main character re-staged each event to escape a tormented past. Both "The Knowledge and Beliefs of the World" and now "Landslide to be lived off… " were also re-staging the world to prompt new ideas in a flourish of new characters. They became impossible to unpick from each character, distinguishing one person from the next. They were as inseparable as Tokyo, once home to the Luna Park amusement park destroyed by fire, and Osaka where it was later rebuilt.
Asakusa's Luna Park is a lost Tokyo landmark. On the afternoon on April 9th, 1911, a fire broke out under mysterious circumstances destroyed the structure. The park had been built by the wealthy businessman Ken'ichi Kawara. As owner of Yoshizawa Shōten, a family-run business he had married into, he had the means to invest in his passion for moving images and at the same time amass a small fortune. He acquired an early cinematographic device capable of recording, developing and projecting motion pictures through his own office in London and a long list of acquaintances.
Industrialist Inabata Katsutaro acquired the device from inventor Auguste Lumière through a secession of middlemen, traders and military consuls Braccialini was one, an Italian military cartographer based in Japan. Alfonso Gasco was another, being the Italian consul general in Kobe. 3
Armed with the right equipment Yoshizawa Shōten built the Denkikan, Japan's first permanent moving picture house in Asakusa in 1903 followed by the first movie studio in Meguro, an odd glass-like structure built in 1909 which also seemed to mirror Thomas Edison's own Bronx studio. 4 The company even published a trade magazine Katsudō shashinkai which it sent to its wealthy patrons.
Having captured the public's imagination with their fledgling picture house and motion pictures the company opened Asakusa Luna Park in 1910 to capitalise on the success of its Coney Island namesake. Yet its success also brought envy and suspicion.
Luna Park had been open for less than a year when it was suddenly destroyed by fire. The park was so popular it attracted every sort of opportunist; shoplifters, muggers, pickpockets, prostitutes and the homeless, who authorities either turned a blind eye to or in some cases supported. 5
Either way, the fire crippled Yoshizawa Shōten. Fires had already destroyed its other two theaters in Osaka and were just as questionable. This all combined with mounting pressure from competing studios overseas eventually convinced Kawara he should sell the family business to a rival studio. But a merger seemed inevitable.
Competition also concerned Yoshizawa Shōten's new owners who later added the studio to a consortium that gave birth to Nikkatsu, Japan's oldest film studio. Kawara was now free of the family firm and returned to his first true passion. In July 1912, he reopened Luna Park a little more than a year later in Osaka until it finally closed in 1923.
The exhibition title "Landslide to be lived off and/or tongues to be deadpan," MISAKO & ROSEN, 2021, featuring C Brushammer, John Grover, Luciana Janaqui, Ian Rosen, Osana Pasaiko, Hubert Van Es and Linda Warmoes, was a pun on two titles. "Language to be looked at and/or things to be read," Dwan Gallery, 1967, 6 had been a gargantuan group show in New York featuring a bevy of artists; Carl Andre, Shusaku Arakawa, Dan Flavin, Dan Graham, Jasper Johns, On Kawara, Edward Kienholz, Sol LeWitt, Roy Lichtenstein, Robert Morris, Claes Oldenburg, and Robert Smithson amongst others. Smithson, it turned out, had written the press release and signed it with his own pseudonym, Eton Corrasable.
The second was the tongue-in-cheek artist magazine Landslide (1969-1970) published anonymously in Los Angeles by William Leavitt and Bas Jan Ader and sent to a small group of people. Mimeographed and hand-stapled, contributions came fictive artists and featured faux interviews. One interview was with John Grover, a carpenter turned minimalist sculptor, read as a parody of Dan Graham's Homes for America (1966-1967) and mass-produced suburban architecture. Yet the contribution was just as closer if not closer to the work of Andre, not relying on weight and gravity alone to keep material in place. This was also how the installation by Grover was restaged around MISAKO & ROSEN's gallery space. Equal lengths of redwood timber rested on each other at right angles to form L-shapes, separating other works like commas in a sentence.
One of these was a video work made as "actions for two cameras" by artist Hubert Van Es, the name given to curator Florent Bex. Experiments for Autocommunication (1975) sat on the floor between two of Grover's redwood L's. Van Es (Bex) had used early video equipment to form 'actions' to communicate with himself and his own image but found the task impossible. The process was like looking in a mirror; "we never know how to look ourselves straight in the eye," he later said. 7
Staring at these images was like staring in the face of chaos. Leavitt had claimed the magazine referred to "the southern California hillsides and their problems," conveying a sense of entropic collapse. 8 The collapse was just as comic as was calamitous. The "expandable sculpture" of Issue 3 sent several packing peanuts in an envelope, and by issue 6 this had expanded to a McDonalds hamburger mailed out in a cardboard box.
The works in "Landslide to be lived off…" were no less provocative and just as difficult to express or easily name but were anything but soulless. Brushammer's Do Androids Dream of Frank Stella? #5 (2018) featuring Stella smoking through a Hajime Sorayama-like figure, pointed at a ghost in the machine and differences between ideas of subject and object, mind and matter.
The artworks seemed ordinary and expressionless, appeared unreadable but awe-inspiring. They mirrored how absurd the world and present moment were, prone to moments of extraordinary beauty and extreme contradiction.
For example, Takayanagi's floor objects from "The Knowledge and Beliefs of the World" 2018, were specific things and the written statements hung from the wall were specific in their mangle of words. Thinking of them all as leaping off the screen and tele-visual made sense. As did Luna Park and EXPO'70, specific moments in time now pictured diffuse and scattered. Those pictures remained incomplete. Thoughts in these times of crisis turned from who people were to who they might be, not wrestling with a dead end but reveling in possibility.
Hunched to one side, I limped home ducking behind a citrus tree to escape the brutal heat and catch my breath. The summer seemed vague and incomplete with all its medical uncertainty. As biographies were rewritten and hillsides shored up in the heavy rain, the body seemed more conscious of what was happening, somatic in response when words were not enough.
C Brushammer, Do Androids Dream of Frank Stella? #5 (2018) in "Landslide to be lived off and/or tongues to be deadpan" at MISAKO & ROSEN
Comi Comi, 5. Zone Tripper
Comi Comi, 4. Wish you were here
Comi Comi, 3. Nerves and New Skin
Comi Comi, 2. Positive entropy
Comi Comi, 1. Burn it Down, Build it Up
山辺冷|Lei Yamabe
http://yukiokumura.com/writing/yamabe_edit_Japa.pdf
http://ubu.com/film/gutai_comp.html
Accessed: Monday, December 17, 2018
https://mailman.yale.edu/pipermail/kinejapan/2005-June/040984.html
Accessed: Wednesday, May 5, 2021
http://eiga9.altervista.org/chronology.html
https://ja.wikipedia.org/wiki/ルナパーク_(浅草)
https://www.aaa.si.edu/collections/dwan-gallery-records-6056/series-2/box-3-folder-8
http://www.videoarchiv-ludwigforum.de/interviews/interview-with-florent-bex-a-k-a-hubert-van-es-by-lou-jonas-march-and-december-2014/
Accessed: Wednesday, September 1, 2021
Gwen Allen, Artists' Magazines: An Alternative Space for Art, MIT Press, 2011:272
TopNewWhat is Comi Comi?AboutAbout
© 2022 Stuart Munro. See privacy, terms and information collection notice
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text:
Q: Update nested attributes objects independently from parent model I have a parent model 'page' and nested attributes model 'page_modules' which at same time are modeled by 'Single Table Inheritance' pattern.
My problem is when I try to save different generated 'page_modules', if one of these is not validated, the whole model and nested attributes are not updated, even if some of these nested attributes pass the validation. ¿Is there a way to update all the validated 'page_modules' and only refuse not validated 'page_modules'?

A: If I have understood you correctly you want to silently drop the nested attributes if they are invalid and continue anyways. You can do this with the reject_if: option:
class Page < ApplicationRecord
  has_many :page_modules
  accepts_nested_attributes_for :page_modules, reject_if: :page_module_invalid?

  private

  def page_module_invalid?(attributes)
    !page_modules.new(attributes).valid?
  end
end


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Starozagorski bani (bulgariska: Старозагорски бани) är ett distrikt i Bulgarien.   Det ligger i kommunen Obsjtina Stara Zagora och regionen Stara Zagora, i den centrala delen av landet,  km öster om huvudstaden Sofia.

Trakten runt Starozagorski bani består till största delen av jordbruksmark. Runt Starozagorski bani är det ganska tätbefolkat, med  invånare per kvadratkilometer.  Årsmedeltemperaturen i trakten är  °C. Den varmaste månaden är juli, då medeltemperaturen är  °C, och den kallaste är januari, med  °C. Genomsnittlig årsnederbörd är  millimeter. Den regnigaste månaden är maj, med i genomsnitt  mm nederbörd, och den torraste är augusti, med  mm nederbörd.

Källor

Indelningar i Stara Zagora (region)