The new film "Somewhere I'll Find You," starring Clark Gable and Lana Turner, begins on October 2, 1941, 64 days before the attacks on Pearl Harbor. Gable plays Jonny Davis, a newspaper journalist who works alongside his brother Kirk "Junior" Davis (Robert Sterling). Jonny and Junior have just returned from Europe, where they were reporting on the ongoing war. They were "kicked out" of Germany because they were going to report that Germany and Japan were planning to attack the U.S. in the near future.
Jonny and Junior write about this and trick their editor into publishing the piece. The editor is adamantly against running this pro-war piece in a currently neutral America. Immediately Jonny and Junior are seen as the protagonists in this film who have witnessed the truth about the German forces and their devious and evil intentions. Jonny and Junior are determined to reveal this knowledge to their readers. When they read the piece their friend, who serves as an example of the average American, becomes enraged by what he is hearing and has now changed his opinion on the war from neutral to believing the US should enter the war.
The editor is fearful that if this piece is published it will have this effect on all its readers and that will lead to pro-war feelings and cause an outcry and possibly negative attention to be brought to the paper from those in power. The editor is made to look like a coward because at the release of this film Americans were already involved in the war and had been exposed to the evils of the Germans and especially the Japanese.
Paula Lane, who is played by Lana Turner, is also a journalist at The Chronicle, where Jonny and Junior work. The film centers on the love triangle between Paula, Jonny and Junior. Junior is in love with Paula, Paula is in love with Jonny. Jonny, who initially wants to teach his brother a lesson about women being trouble, takes Paula out on a date. However, he unintentionally falls in love with Paula and becomes conflicted because of his brother's feelings for her.
Paula feels conflicted by her feelings because although she likes Junior and considers his offer of marriage she cannot deny her stronger feelings for Jonny. Jonny and Paula act upon their feelings for each other yet it is clear that both are feeling conflicted because of Junior. Paula rejects Junior's proposal and reveals to him her feelings for Jonny. This deeply upsets Junior and he warns her about Jonny's philandering ways. Junior then confronts Jonny about Paula and this causes Jonny to pull away from Paula and causes her to leave for China to resume her reporting career.
The love triangle between Paula, Jonny and Junior seems to act as a metaphor for the U.S. feelings towards the war before Pearl Harbor. The idea of having to choose between what is the right choice and what is the easy choice is something these characters feel conflicted over. America during the time before Pearl Harbor also battled with this decision that entering the war is the right choice but certainly not the easy choice.
Paula tried to be with Junior. She could have had a safe and uneventful life with him. The U.S. tried to remain neutral concerning the war. It would have been the safe choice as well and would offer very few obstacles (at the outset) in keeping the U.S. out of immediate danger. Paula always knew that if she was being honest with herself the right choice for her would not be the easy choice and she could not deny her overwhelming feelings for Jonny. Jonny offered many obstacles and a lot of resistance for Paula yet the choice was out of her hands.
The U.S. knew eventually that entering the war would be inevitable. It was the right choice. Although entering the war would create a great many obstacles for the U.S. and the American people were reluctant towards entering another war the choice would soon be out of their hands.
Both Paula and Jonny's as well as the U.S. decision were rendered moot because of the attacks on Pearl Harbor. After Pearl Harbor, Junior enlisted in the Army and Paula joins the Red Cross instead of running to Australia together to stay out of harm's way. Again we see this internal battle within the characters between choosing between what is right and what is easy. Jonny became a frontline war reporter and runs into Junior on the battle field.
After the attacks on Pearl Harbor, the U.S. was no longer a bystander and was compelled to enter the war. The resistance from the American citizens was no longer a factor due to the lives lost from the horrific attack. They knew what needed to be done now and that any chance of remaining neutral was no longer an option.
"Somewhere I'll Find You" ends with a message to purchase war bonds and stamps, which will provide money for the war effort. The stronger message of support comes just before that. While Jonny dictates his article covering the war, he claims victory for the U.S. and reveals that Jonny has been killed in the Battle of Bataan. When Paula finds Jonny and learns about Junior she begins to cry. Jonny comforts Paula but tells her to stop crying because Junior died a hero. Jonny then continues to dictate his article covering the battle and says if the Japanese have any differing opinion on who was victorious they better believe the there is "more to come." These three final words show that this is only the beginning and the U.S. will prevail.


text:
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redpajama_set_name: RedPajamaCommonCrawl


text:
News Release 1-Jul-2019
Combing nanowire noodles
A new technique lets researchers make thousands of nanowires, capable of recording intracellular signals, at the same time
IMAGE: U-shaped nanowires can record electrical chatter inside a brain or heart cell without causing any damage. The devices are 100 times smaller than their biggest competitors, which kill a cell... view more
Credit: Lieber Group, Harvard University
Machines are getting cozy with our cells. Embeddable sensors record how and when neurons fire; electrodes spark heart cells to beat or brain cells to fire; neuron-like devices could even encourage faster regrowth after implantation in the brain.
Soon, so-called brain-machine interfaces could do even more: monitor and treat symptoms of neurological disorders like Parkinson's disease, provide a blueprint to design artificial intelligence, or even enable brain-to-brain communication.
To achieve the reachable and the quixotic, devices need a way to literally dive deeper into our cells to perform reconnaissance. The more we know about how neurons work, the more we can emulate, replicate, and treat them with our machines.
Now, in a paper published in Nature Nanotechnology, Charles M. Lieber, the Joshua and Beth Friedman University Professor, presents an update to his original nanoscale devices for intracellular recording, the first nanotechnology developed to record electrical chatter inside a live cell. Nine years later, Lieber and his team have designed a way to make thousands of these devices at once, creating a nanoscale army that could speed efforts to find out what's happening inside our cells.
Prior to Lieber's work, similar devices faced a Goldilocks conundrum: Too big, and they would record internal signals but kill the cell. Too small, and they failed to cross the cell's membrane--recordings ended up noisy and imprecise.
Lieber's new nanowires were just right. Designed and reported in 2010, the originals had a nanoscale "V" shaped tip with a transistor at the bottom of the "V." This design could pierce cell membranes and send accurate data back to the team without destroying the cell.
But there was a problem. The silicon nanowires are far longer than they are wide, making them wobbly and hard to wrangle. "They're as flexible as cooked noodles," says Anqi Zhuang, a graduate student in the Lieber Lab and one of the authors on the team's latest work.
To create the original devices, lab members had to ensnare one nanowire noodle at a time, find each arm of the "V," and then weave the wires into the recording device. A couple devices took 2 to 3 weeks to make. "It was very tedious work," says Zhuang.
But nanowires are not made one at a time; they're made en masse like the very things they resemble: cooked spaghetti. Using the nanocluster catalyzed vapor-liquid-solid method, which Lieber used to create the first nanowires, the team builds an environment where the wires can germinate on their own. They can pre-determine each wire's diameter and length but not how the wires are positioned once ready. Even though they grow thousands or even millions of nanowires at a time, the end result is a mess of invisible spaghetti.
To untangle the mess, Lieber and his team designed a trap for their loose cooked noodles: They make U-shaped trenches on a silicon wafer and then comb the nanowires across the surface. This "combing" process untangles the mess and deposits each nanowire into a neat U-shaped hole. Then, each "U" curve gets a tiny transistor, similar to the bottom of their "V" shaped devices.
With the "combing" method, Lieber and his team complete hundreds of nanowire devices in the same amount of time they used to make just a couple. "Because they're very well-aligned, they're very easy to control," Zhang says.
So far, Zhang and her colleagues have used the "U" shaped nanoscale devices to record intracellular signals in both neural and cardiac cells in cultures. Coated with a substance that mimics the feel of a cell membrane, the nanowires can cross this barrier with minimal effort or damage to the cell. And, they can record intracellular chatter with the same level of precision as their biggest competitor: patch clamp electrodes.
Patch clamp electrodes are about 100 times bigger than nanowires. As the name suggests, the tool clamps down on a cell's membrane, causing irreversible damage. The patch clamp electrode can capture stable recording of the electrical signals inside the cells. But, Zhang says, "after recording, the cell dies."
The Lieber team's "U" shaped nanoscale devices are friendlier to their cell hosts. "They can be inserted into multiple cells in parallel without causing damage," Zhang says.
Right now, the devices are so gentle that the cell membrane nudges them out after about 10 minutes of recording. To extend this window with their next design, the team might add a bit of biochemical glue to the tip or roughen the edges so the wire catches against the membrane.
The nanoscale devices have another advantage over the patch clamp: They can record more cells in parallel. With the clamps, researchers can collect just a few cell recordings at a time. For this study, Zhang recorded up to ten cells at once. "Potentially, that can be much greater," she says. The more cells they can record at a time, the more they can see how networks of cells interact with each other as they do in living creatures.
In the process of scaling their nanowire design, the team also happened to confirm a long-standing theory, called the curvature hypothesis. After Lieber invented the first nanowires, researchers speculated that the width of a nanowire's tip (the bottom of the "V" or "U") can affect a cell's response to the wire. For this study, the team experimented with multiple "U" curves and transistor sizes. The results confirmed the original hypothesis: Cells like a narrow tip and a small transistor.
"The beauty of science to many, ourselves included, is having such challenges to drive hypotheses and future work," Lieber says. With the scalability challenge behind them, the team hopes to capture even more precise recordings, perhaps within subcellular structures, and record cells in living creatures.
But for Lieber, one brain-machine challenge is more enticing than all others: "bringing cyborgs to reality."
Caitlin McDermott-Murphy
cmcdermottmurphy@fas.harvard.edu
@HarvardResearch
http://www.harvard.edu
US Department of Defense, Air Force Office of Scientific Research, National Science Foundation
BIOMECHANICS/BIOPHYSICS
CHEMISTRY/PHYSICS/MATERIALS SCIENCES
NANOTECHNOLOGY/MICROMACHINES
A U-Shaped Nanowire Pierces the Membrane of a Neuron (IMAGE)
https://chemistry.harvard.edu/news/combing-noodles
http://dx.doi.org/10.1038/s41565-019-0478-y
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Hello friends! Oh man. It's been close to a year since my last post. Really, Lauren? What happened???
So here's the thing. In my last post, I talked about taking a break from social media. But true story… I needed a break from media in general. I needed to work some stuff out. I knew being a stay-at-home mom would be hard, and once I was in it, it definitely was hard, but I felt like every piece of media I read just reinforced how hard it was without actually equipping me to do it better. And guys, I'm all about solutions. Thanks, scary mommy blog, for sharing eight million articles on why moms have it tougher than everyone in the universe, but can you just freaking tell me how to make it not so tough??? I am seriously not interested in convincing anyone else of how hard I'm working…I just don't want to work so damn hard!
Whew. So since June of last year I've been resetting boundaries in our house and reestablishing myself as an authority over my children, a partner to my husband, and a fun, interesting, and self-developing individual for myself. I stopped giving 100% of my time and energy to being supermom (and honestly I don't think this tribe would tell you I'm any less super than before), I started actually voicing my needs and concerns to my husband (without turning into a resentful broodmare), and I started carving out time for myself every day, with time each week for a babysitter to keep the kids and for me to meet my husband for lunch or wander aimlessly around IKEA or that used bookstore that I love. You guys. Why did no one ever tell me about IKEA????
Almost got distracted there for a second. Seriously, IKEA is a minimalist's dream store. But more on that in the future. Meanwhile the only reason I ever even visited IKEA was because of a new BFF here- Faith- who has totally helped me find my homeschool mom mojo, and who has helped me navigate the fine line between "great mom" and "miserable slavewoman." And this is where the social media fast really comes in. When I looked at Facebook and Instagram, what I saw were all these amazing achievements my friends had- whether it was at work or at home, with beautiful families and/or fun activities and outlets and friendships and adventures- and all I could do was compare myself and feel like I wasn't measuring up. Like somehow if I would just work a little harder I'd have that super happy life that everyone else seems to have. It was exhausting.
First takeaway: everyone's life is hard. The constant comparison of who has it harder or who is overcoming more in order to make it every day does absolutely nothing for building up your own sense of self-worth. It just doesn't. It's so much better to say "my life is hard, but there are people who love me who want to see me succeed." And it's totally true. When I got myself off social media, I was actually able to spend time being TOTALLY REAL with people who I met here in my new hometown, and I got to see them being real, too. You know what? I respect them all so much more. I respect people so much more. Because I have to get to know them on my own, and it's a lot harder when you can't stalk their profile (although, true story, profile stalking is prob the #1 thing I miss about being off social media. But I digress.).
Little dude was not happy that mommy wanted to see the botanical gardens. But we did it anyway. And he survived.
Second takeaway: you don't win a medal for shouldering challenges alone. I actually love being a homemaker. Like, I looooove it. I genuinely am a person who loves having a clean kitchen countertop and hearing the whir of my vacuum cleaner and the gentle tumble of clothes in the dryer. It satisfies me. (I know. I'm crazy.) But no matter how much I love serving my family in all things domestic, it's totally unsustainable for me to do it without help. And that doesn't make me a failure. Every mom has things they do well, or things they enjoy, and even in those things, you can ask for help. The single greatest thing I've done for myself in the last year is hiring a babysitter, and it started by confessing to my friend Faith (in a moment of total vulnerability) that as much as I love my children and want to keep homeschooling them, it was killing my soul. She said "girl every mom feels that way! What you need is a break on a regular schedule!" And she was right. I now have a beautiful morning to myself once a week where I can go and do whatever my heart desires- usually just enjoying the quiet of no children- and go back home to my wild tribe feeling refreshed.
Third takeaway: people aren't mindreaders. It turns out, if you have a problem with something someone is doing, it helps to tell them. Who knew??? And it's even better if you come to them already thinking about solutions. So I started being serious with my husband about where I needed his help. Am I the only wife who felt the pressure to be a perfect spouse all the time, even though my spouse literally never put that pressure on me? Yikes. When I mentioned that (gasp!) I might want to buy a jar of enchilada sauce instead of making it from scratch, my husband said "so do you want me to put that on the list?" I honestly don't think he even knew I used enchilada sauce, let alone made it. Here I was, brooding over the fact that no one ever notices how much effort I put into the food I make or the clean house or the (sometimes) well-planned homeschool, and I was actually adding work to my plate. I was making things harder! Why do we do this to ourselves??? So I started getting (a few) more ready-made items, and he started religiously being the person who does all the dishes after dinner every night. He also modified his routine so we can always do the kids' bedtimes together (after I mentioned him working out while I took care of bedtime was kind of like me going to the movies and leaving him home to clean the house), and we started spending regular time together without the kids- date nights once a week and meeting for lunch on my sitter-days. It's been amazing.
Getting help from people who want to help you is a beautiful thing.
Seriously. This kid is all Stormtrooper, all the time.
But you guys, it's a beautiful mess. Because it's mine. Our family just got big news…we're going to move across the country again (although not back home to Atlanta). And while we have no idea what's in store for us in our next place or how exactly we'll do it, one thing's for sure: we'll do it together, and we'll do it for us. I love new beginnings, because we can leave everything else behind us and start fresh with what we've learned. Maybe you need that too. Wherever you are, whatever you're up to, do it for you. Own your life, ask for help, voice your needs, and live for you. It's so much better that way.
Lauren, oh how I've missed your blogs:) let us know where your family moves next. Always keeping you in prayer. What you said is totally TRUE! I always loved being a stay at home mom. The cooking, cleaning, all of it:) not that it was easy, but you're smart to have some me time and a date night. When we moved with the military, we found a house, a church and a babysitter. Love you, girl!
Thank you Ms. Julie! You are so right- it was a military mom in WR who told me the best advice she ever got was find your church, your grocery store, your babysitter, and your Mexican restaurant as soon as you land, and sure enough, it's been the best advice I've ever gotten too. (And true story, finding the right Mexican restaurant was tough work in Utah!) love you and your crew!
Love you sweet friend! Heading to Michigan next…hooray for the Great Lakes!
This! All of this! Glad you are back and finding balance. I think that's the biggest problem with being a mommy. Keep sharing your journey and fighting the good fight.
PS. Good luck on the cross country move… I know what it's like to be in that boat. Trust that it will be messy and imperfect, but it will also work out exactly as it should.
Lovely post! Best of luck on your move!


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redpajama_set_name: RedPajamaGithub


Those that have worked with me or have seen my resume know that being at an employer for three years is a rare occurrence. In a couple weeks this will occur regardless* if I turned in a two week notice today.
Seems crazy but the time has went by fast. The opportunity to work more from home certainly helps improve job satisfaction. Will this pass my all time record on length of employment? We shall see.


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Don't miss out all those that want to take their skills to the next level.
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Our program is a developmental volleyball program designed for both elementary and secondary school students where volleyball is taught in a fun-filled, non-competitive environment.
- Emphasizes the value of fair play, respect and team work.
House League - grades 7 – 12 Some instruction to help improve skills.


text:
Headquarters, Capitol Heights, MD
Bishop Alphonzo D. Brooks, Presiding Bishop
Executive Board of Bishops
Bishop Alphonzo D. Brooks
National Adjutancy
Bishop Earley Dillard
Bishop Roosevelt Fulton
Apostle Leroy H. Cannady
Bishop Willie James Davis
Bishop Hurron Freeman
Bishop Terry A. Hicks
Bishop Darnell L. Easton
Bishop Eugene McCrea
General Board of Bishops
Board of District Elders
Apostolic Christian College
Elders and Minsters Council
Deacons Council
Missionary Ministry
Clergy Wives Ministry
Deacon Wives Ministry
Youth For Christ Department
WOTCC Foreign Region
Dioceses & Districts
National Regional Flowchart
74th Holy Convocation
Bishop Willie James Davis was born in Washington, Georgia, and at the age of seven his mother moved to Washington, DC with him and his brother Lindon Davis. He was educated in the Washington DC public schools. After graduating high school, he served in the United States Armed Forces and was honorably discharged in April 1961. On November 30, 1957, he was joined in holy matrimony to Alberta Brooker. From this union they are blessed with seven children: Felicia, Veda, Orlando, Cynthia, Victoria, Paula and Myra. From these blessings they are further blessed with fifteen grandchildren. He was a dedicated employee of the Safeway Food Stores for 30 years and Retired in February 1990.
Bishop Davis has been a member of the Way of the Cross Church of Christ since the year of 1940. He gives credit for the knowledge of God's word that he has today, to the late Pastor and Founder Bishop Henry C. Brooks, because was faithful to the work of God's people. Bishop Davis' determination has been, to be faithful in the Service of the Lord. He was baptized at the age of seven and later received the Gift of the Holy Ghost. Growing up in the Mother Church, he sang on the Sunshine Band, the Jr. Choir, Male Chorus, and The Christian Lights Gospel singers. He was a member of the Young People's Union, President of the Jr. Brother's Club, and followed the late Bishop John E. Williams as President of The Youth for Christ. He also served as Church clerk and a reader for our Founder.
In August 1961, during our Holy Convocation, he was ordained an Elder. After the passing of our founder the late Bishop Henry C. Brooks, he served as interim Acting Pastor of the Mother Church, while waiting for a pastor to be selected. In March 1973, he became Founder and Pastor of Mt. Calvary Way of the Cross Church of Christ. The doors of the church were open on March 18, at 11:00am. This is the work that God prepared, called, and sent him to do. In 1990, he was appointed District Elder for the Middle Atlantic Diocese District 1. In August 1991, during our Holy Convocation he was ordained a Bishop.
"So built we the wall…for the people had a mind to work". (Nehemiah 4:6) Through much fasting and praying on April 10, 1998 (Good Friday), Bishop Davis and the Mt. Calvary family moved into their new edifice, located at 306 Hill Road, Landover, Maryland. In March 2009, Bishop Willie J. Davis was appointed Diocesan over the Middle Atlantic Diocese.


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At DC Public Schools (DCPS), it is the goal to ensure that every student achieves academic success by being present at school every day and on time. Students who have regular school attendance learn more and are more successful in school. DCPS has shifted focus from monitoring only unexcused absences to all absences by tracking In-Seat Attendance (ISA). Some absences are unavoidable, but when children miss too much school - excused or unexcused - they can fall behind.
Yes, attending school is required by law! All students who reach five years of age on or before September 30 of the current school year must attend school every day until they meet high school graduation requirements or reach their 18 birthday.
Excused absences are when school-aged students are absent from school with a valid excuse and parental approval. Excused absences include: student illness (a doctor's note is required if a student is absent for more than 5 days); death in the student's immediate family; observance of a religious holiday; medical reasons such as a doctor's appointment (a doctor's note is required). Unexcused absences are when school-aged students are absent from school without a valid excuse, with or without parental approval. Examples of unexcused absences include: family vacation, doing errands and parent's illness.
When your child is absent from school, please provide a written note to the front office or email Denise Diggs at denise.diggs@dc.gov.
What Happens if My Child Accrues Unexcused Absences?


text:
//
// Copyright 2011-2014 NimbusKit
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#import <Foundation/Foundation.h>

/**
 * @defgroup NimbusPagingScrollView Nimbus Paging Scroll View
 * @{
 *
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 *
 * A paging scroll view is a UIScrollView that scrolls horizontally and shows a series of
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 *
 * The Nimbus paging scroll view is powered by a datasource that allows you to separate the
 * data from the view. This makes it easy to efficiently recycle pages and only create as many
 * pages of content as may be visible at any given point in time. Nimbus' implementation also
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 * Paging scroll views are commonly used in many iOS applications. For example, Nimbus' Photos
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 *
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Building a Component with NIPagingScrollView

 *
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 * is required. The views that you return for pages must conform to the NIPagingScrollViewPage
 * protocol. This is similar to UITableViewCell, but rather than subclass a view you can simply
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 * NIPageView which implements the required methods of NIPagingScrollViewPage.
 */

/**@}*/

#import "NIPagingScrollView.h"
#import "NIPagingScrollViewPage.h"


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text:
薛滔 Xue Tao
艺术家薛滔的个人网站
Xue Tao Interview: Contemporary Art in Yunnan
By Luo Fei
December 27, 2012, Loft Arts Community, Kunming
Luo Fei (abbreviated below as "Luo"): TCG Nordica Gallery Curator
Xue Tao (abbreviated below as "Xue): Artist
He Libin (abbreviated below as "He"): Curator and Director, Dean of Oil Painting Department, School of Art, Yunnan Art Institute
I.Setting Out from Yunnan
Luo Fei: You were one of the first off-canvas artists in Yunnan. You founded the Red Heart Commune in Dali, Yunnan Province, in 1994, and the Migratory Sky Art Space in Beijing in 2005. You have always been promoting interaction between Yunnan artists in the outside world, and have witnessed the beginnings and development of Yunnan artists born in the 70s. Please tell us a bit about what the situation was like when you founded the Red Heart Commune.
Xue Tao: I first entered the studio to learn painting in 1989, in my first year of middle school, and I graduated high school and took the university entrance exams in 1994. Most of my classmates at the studio got married and had kids after graduation, and basically stopped doing art. It wasn't like today, when you test into the art academy after a few months. Back then, it was normal to keep testing for four to five years. I felt that after working so hard to test into an art program, it would be a shame to give it up. I should persevere in doing what I liked. So I formed a commune together with Lan Qinglun, Duan Yusong and Shi Zhimin. We didn't know about the 85 New Wave at the time, and had only seenScar Art in the magazines. We were all young artists in Dali, and we formed this group to help each other to continue with our passion. We had regular events such as exhibitions and exchanges, but we didn't have a clear creative direction. In 1997 we started getting more members such as Su Yabi and Liu Kun. At the time, the only exhibitions in Kunming were for the Artists Association. We held our first exhibition in 1997. Our second exhibition, in 2000, was held at the Yunnan Art Academy Museum. Chen Changwei and a few others also joined. Later, we went on to hold an exhibition every two years, in a biennial format, which was influenced by the fad for biennial exhibitions at the time.
Luo: You founded the Migratory Sky Art Space in 2005. Is it still there?
Xue: Beginning in 2002, there were a lot more exhibitions in China, especially after the Loft was founded. In 2003, I did the Shadow New Media Exhibition with Xiang Weixing and a few others. You came to help for that one. Then, we held the Cry Sheep Exhibition at the Red Banana Gallery and Nordica. In 2003, we went to Shanghai for the Spring Art Salon, holding the Altitude Sickness Exhibition. Things were taking off in China, and everyone was actively taking part. That's because after the 85 New Wave and "Post 89," things had gone silent in the Chinese art scene. From the 90s to 2000, everything was quiet, and then suddenly a new energy burst forth in 2000. Chen Changwei, He Libin, He Jia and I stayed in Shanghai for a long time, interacting with artists from all over. Once our enthusiasm was let out, it couldn't be pulled back in. Everyone had this impulse, this feeling that something big was about to happen in the Chinese art scene, though we didn't know what it was.
In 2004, He Jia and I went to Beijing, to the Binhe Neighborhood in Tongxian, which was one of the places artists had gathered after the Yuanmingyuan Artist Village was scattered. At the time, some of the Yuanmingyuan painters had been sent back to their hometowns, some of the ones with money had bought houses in Songzhuang, and others had moved into the Binhe Neighborhood. He Yunchang was there, as were most of the key members of the Kitsch Art scene. But I started wondering what I was doing there. If I wanted the settled neighborhood life, I was already doing fine in Kunming, with a salary and insurance. That's not what I quit my job in Kunming for. Later, I went to Suojia Village and set up a space, one set up with money from Yunnan artists. It was called Migratory Sky. I wanted to make a platform for Yunnan in Beijing.
Half a year after I set it up, they started demolishing Suojia Village. City officials said they were cleaning up the city's image, knocking down buildings that weren't up to code. Suojia Village fit the bill. I had just quit my job and borrowed money to set up this art space, and now, right at the beginning, I was facing a tragedy. When the demolition team came, everyone was asleep, and they made a big commotion as they came. We were surrounded by court officials, police and bulldozers.
Luo: They didn't notify you beforehand?
Xue: There was a notice, telling us to knock down the buildings ourselves by a certain date. Of course, no one did, because we had just built them. Then, they suddenly showed up and demolished them. The first one they knocked down was Shang Yang's studio. His wife fainted, and was taken away in an ambulance. He's a very famous and respected artist in China. All kinds of people lived in that art zone, including Tan Ping, who was the Vice Dean of the Central Academy of Fine Arts. But it didn't matter. The political atmosphere in Beijing was too thick. When we saw that they would even knock down Shang Yang's place, we all knew the game was up. Migratory Sky split up after the demotion.
Luo: Were you compensated?
Xue: No. We were lucky we weren't fined. We had built it right across from the Village Council, on land rented from the village. The land used to be a graveyard, and they couldn't do anything with it. It was just a bunch of weeds when we got there. The village was of course happy when we came to use it. We brought them income. Migratory Sky held two exhibitions, the first being an open studio exhibition, and the second being the Entertainment First Exhibition. There were about a hundred people at Suojia Village then, with artists from about a dozen countries. There were very few artist studios in the 798 Art Zone at the time, and people were even saying that 798 was slated for demolition.
Artists (from left) Xue Tao, Shi Zhimin, Chen Changwei, He Jia, He Libin in Shanghai
Luo: You recently wrote a preface for an exhibition on post-70s Yunnan artists, using the term "non-stream" to describe them. You wrote, "Non-stream is a state that is neither mainstream nor non-mainstream, a state outside of the streams. This is an outstanding feature of Yunnan artists." Is this an awkward predicament, or is it about finding one's own way?
Xue: It's a bit of both. It depends on what Yunnan artists want for themselves. If they hope to enter into the mainstream, then it's an awkward predicament. If they don't hope to enter into the mainstream, then it means they are finding their own path. But only the artist knows. Everyone else just sees them staying outside of the stream. Regional and cultural factors in Yunnan have kept many people outside of specific trends or streams. In Beijing, it is very clear. You are either mainstream or non-mainstream. If you want to fight the mainstream, you have to either step aside or form your own stream. Yunnan artists are none of the above. They don't enter into the stream or resist it, and they don't have any other stance either.
Luo: Their goals are unclear.
Xue: Right. They're unclear. If they were clear, then in most cases, they would leave Kunming, at least for a while. That has been the case with the past few generations of influential artists since the 85 New Wave.
Luo: You went to Beijing in 2004 to seek out better development, and watched as the Chinese art market exploded in 2006, and as it fell after the 2008 financial crisis. You have experienced Chinese art as it had no market, then had a flourishing market, and then bottomed out. As an artist, how do you understand the connection between artistic creation and the economic environment?
Xue: This is a headache for me. Yunnan is too quiet. There are no surprises here. I went to Beijing to find surprises. Though there weren't many galleries in Beijing at the time, I had a premonition that something was about to happen, so I quit my job and went. At the time, Chinese artists were all chasing after the "big face paintings," painting in the style of Yue Minjun and Fang Lijun, with kitschy colors. It was the same with sculpture, with everyone working in fiberglass and automobile paint. Art made in this way saw certain market returns, and I was sometimes swept up in it too, but I pulled out. I was very conflicted. You need to have a market to survive, but the market is too tempting.
In 2007, the artists were all crazy. Artists in Beijing from 2006 to 2008 were the luckiest artists in the world, because every year, there were two months of exhibition opening banquets every single day, which was heaven for artists who had been surviving on steamed buns up to that point. As long as you were an artist, you would get a lot of invitations. That is because the market was good, and the galleries were all looking for resources, so they were very nice to all the artists. It didn't matter what kind of art you were making. As long as you were an artist, you were treated with a certain amount of respect. In those days, I basically slept till the afternoon, when I would head out for an exhibition banquet, with the galleries covering late night barbecue, karaoke, bars, the works. The artists had it great. In April and May, then again in September and October, there was food to be had every day of the week, and on weekends for the rest of the year. Sometimes I had no idea whose exhibition it was or who was footing the bill.
Luo: Stuff like this can't happen in Yunnan. Even though manna isn't falling from the sky, the sky isn't going to fall down and crush anyone either. The great ups and downs of the art market didn't affect most artists here.
Xue: These daily banquets wouldn't happen anywhere else. There were a lot of foreign artists in Beijing at the time who were jealous of the Chinese artists, who by the age of 30 were renting studios by the acre rather than by the square meter. Their studios were big enough to park a small airplane. Think about it. In another nation's capital, if an artist had a studio that was several hundred square meters, even a few acres, it would mean he was an important artist. In Beijing it was easy. It didn't cost much at all. A lot of artists saw their entire destiny change in a single night in 2006 or 2007. When the financial crisis hit in 2008, everyone started shrinking their studios, and it all entered into a slump.
II. Open Language
Luo: Let's talk about your artworks. You twist newspaper into ropes or compress it into shapes like blocks and balls. Some of your artworks are quite large. Do you make them yourself, or with assistants?
Xue: I was making them on my own at first, but as the market got better, I started hiring assistants. There's a couple that helps me a lot. The man is a renovation worker, and welds the frames for me. The woman is in charge of twisting the newspapers.
Luo: Where do you get the newspapers?
Xue: I get them from a newspaper distributor. They recycle the ones that don't circulate, and I get my newspapers from them. Sometimes I get them from newsstands.
Luo: Do you categorize them once you get them?
Xue: I don't. I just make selections. It has to be stiff copperplate paper. If it rips when you fold it, I can't use it. It has to be thin copperplate or coated paper. It has to be easy to crumple, but it can't tear too easily.
Luo: Looking at your works over the past few years, the first thing one notices about your work is that it's non-functional. Second, it doesn't have a direct, easily-understood meaning. Third, your work is anti-formal. These traits are reminiscent of Arte Povera. Where do you get your inspiration?
Xue: An Italian artist once showed me an artwork made from twisted-up newspapers. I thought it was mine, because I had made some with English newspapers, but it was actually the work of an Arte Povera artist in his fifties. When you twist a newspaper up into a rope, it all comes out in that shape. I think, however, that mine is a bit different. My art has gone through roughly three phases. At first, it was the basic feel for the material, and then I treated it as a modeling technique. In the third phase, I treat it as a language. The reason I use newspaper is that it's cheap, easy to obtain and convenient.
Luo: Your early works mainly imitated forms, such as the sun, flowers, pillars and the like. When we get to your rope works, we see that you have already cast off the modernist framework of form to pursue anti-form, alienation and individualized language. You emphasize a clear form, but do not consciously reveal your conceptual references.
Xue: Right. By 2011, I had entered into a state I was rather satisfied with. Before, I was doing modern art or postmodern art, but now I have truly come to understand contemporary art. At first, you submit to modeling and material, and now modeling and material submit to you. In terms of technique, I also feel increasingly free.
Luo: What is your view on the connection between your artworks and Arte Povera?
Xue: My own creative trajectory has been akin to learning the breadth of art history, but when I really set out to create, I don't think about any particular schools of art or art history. If you do think about such things, the creative process will not be a joyful one. If, after completing something, you discover that something similar already exists, I think that is normal. It demonstrates that between civilizations and art, there is more potential for human communication. As for the Arte Povera artists, I don't concern myself much with what they are doing or thinking. I've been to Turin and Milan, where Arte Povera began, and I have seen their works, only to discover that we are not quite the same.
Luo: In the narrow sense, Arte Povera is postmodern Italian art from the mid-1960s to the late 1970s. It was an art movement that arose in response to the drastic social changes and political schisms taking place in Italy at the time. Arte Povera artists presented found objects in dramatic ways to criticize consumerism, seek new ways of intervening in the world, and challenge the traditional order and aesthetics. This movement had a profound impact on contemporary art concepts and methods around the world. Let's return to the previous question. Do you think that Yunnan possesses certain resources or value that it can provide to contemporary artists in today's globalized context?
Xue: To ask whether or not Yunnan artists can provide more meaningful references is like asking what Chinese artists can provide for the world. I would be hard pressed, using my own abilities, to answer this question, because I think it is unclear whether or not Yunnan can provide contemporary art with a new model, new methods, new concepts or a new condition. This must be answered by history and time. As an individual, I am infinitesimal. I cannot transcend time and space to see the results.
Luo: How do you maintain a flow between your increasingly rich international experience and your inherent Dali experience? For instance, how do you bring your experience of globalization to Dali, and how do you bring your local experience into the contemporary context?
Xue: This is an important question, one many artists must ponder. I think that contemporary art is an extremely open language mode, one which gives artists great freedom. Just to have this language, however, is not the end. What matters is what you say with it. In global contemporary art, I have learned this language mode and method of interaction, allowing me to interact with people from different countries and different language backgrounds. As a Yunnanese born in Dali, or as an Easterner, my interest and understanding of handcrafting and Zen Buddhism is infused into my art. Some people may use contemporary art to express sociological or scientific matters, but I think that my own expression is more religious.
Luo: This calls to mind Mono-ha, because Mono-ha also used everyday objects, while they drew spiritual resources from Zen and Shinto to explore the relationships between something and nothingness, between man and thing, thing and space, man and space, referencing materiality. Arte Povera was more directed towards social criticism.
Xue: My art is none of the above. It may appear similar, but when placed together, they are quite different. Neither Mono-ha nor Arte Povera are as produced as my art. The difference is in this production aspect. The production aspect of Mono-ha is concealed, secondary, with the emphasis placed on materiality itself. My artworks highlight the production process.
Luo: You make the energy of vast amounts of highly repetitive labor come to rest on ordinary materials.
Xue: Right. I am most satisfied and interested in the production process. What people see is not an object, but a production process. There is a massive amount of manual labor within. As I understand Buddhism, Mono-ha and Arte Povera, Mono-ha is about "emptiness" while Arte Povera is about "substance," while Buddhism is neither emptiness nor substance. What is expressed in the end is the "non-duality of emptiness and substance." I see Mono-ha as a philosophized understanding of religion. Its understanding of Zen and the Dao is philosophical. Buddhism is neither philosophy nor wisdom. Zen is different. In India, Zen is called "dhyana." Zen cannot be explained. If it can be explained, then it is something different. It is just like all of these ropes I have made. I can't explain clearly what they are, but in the end, I am satisfied. It feels right.
III. The State of Art in Yunnan
He Libin: In recent years, the Chinese contemporary art market has been aggressively encroaching on young Yunnan artists. The situation is not as good as it was in 2000, much less the 1980s.
Xue: When the Red Heart Commune first began, a lot of the artists were making installation art. At the time, Shi Zhimin used glass, X-ray plates and acrylic to make his graduate thesis work. He was placed under investigation, and in the end barely got his degree.
hen Changwei and Duan Yisong all worked in installation art. In those days, a lot of people were making experimental artworks. For instance Ning Zhi, who was from the same graduating class as us in 1998, was also making installation art. The young people were basically all working in off-canvas art and conceptual photography, but later on, they all basically stopped.
Luo: After the market picked up, most people shifted to canvas painting. The last time a lot of Yunnan artists were making experimental art together was with Jianghu in 2005 and 2006.
He: When the market began to dominate art in 2006, artists came to see their positions and goals more clearly. Of course, the end of Jianghu in 2006 had nothing to do with the market.
Luo: As post-70s artists, do you think there are any clear shared characteristics among post-70s Yunnan artists?
Xue: A lot of the post-70s artists are multi-talented. For instance, Wu Yiqiang, Shi Jing, He Jia and Zhang Tian all work in painting, performance art and installations.
He: If we're looking at it based on time, I think that the post-70s generation is in a rather anxious mental state, and this finds expression in their artworks. Post-80s artists find ways to dispel this sense of anxiety. Older artists have a clearer connection to the ideology of the state. They are imprinted by the state.
Luo: I feel that Xue Tao's creative experience is quite representative of the post-70s artists. This generation got started in the traditional art academies, learning colors and modelling. They then went through the modernist enlightenment, self-awakening and the artist group movement. Then they entered into contemporary art within the patterns of globalization, using individualized language and spirit to express artistic concern within the context of globalization. Among earlier Yunnan artists, very few truly entered into contemporary artistic language, with most artists born in the 50s and 60s absorbing modernism or pacing about between modern and postmodern in a quest for Chinese schemas and the expression of the Chinese experience. Their contributions are mainly connected to the post-Cold War unification of the international economy, the collectivist narrative of modern Chinese society and resistance to the same. Their advancement of contemporary artistic concepts was highly limited, and that is why, after they were successful, the only thing they brought, aside from insight into success, was modernist sentiments left over from the 85 New Wave. They didn't engage in much exploration of artistic concepts. Some artists are creating contemporary art at the same time they are painting Impressionist or Romanticist landscapes. I can understand that as they satisfy increasing domestic demand, they don't have to focus so much on export as with contemporary art, but this phenomenon shows that they are lost and conflicted about their individual artistic mission. That is not to say, of course, that one cannot create artworks for the masses; that is another issue altogether.
Xue: The "85" artists basically work within a modernist context. Some artists of the post-60s generation entered into the contemporary, such as He Yunchang. As for the post-80s generation, the question is whether or not they're interested in art in the first place.
Luo: A lot of post-80s artists have been influenced by the individual icon methodology and success schemes. Artistic concepts have been flattened and fragmented, many of them secondhand in the first place. They need to raise their individual character.
He: You raised the question of whether or not Yunnan could provide contemporary art with new possibilities. At this point, I'm not optimistic. Yunnan has its own culture that is markedly different from that of the Central Plain. In fact, southwestern Chinese art as a whole is different from that of other regions. For instance, it places more emphasis on expressiveness, temporality and spiritual experience. The artworks are more closely connected to nature. Setting out from a regional perspective, it is possible that Yunnan can produce something of value, but the future isn't so clear.
Xue: Among the art spaces in Yunnan that do true contemporary art, TCG Nordica is one, then there's Liu Lifen's Contemporary Yunnan, as well as the Lijiang Studio. These three art spaces all have strong international backgrounds. There are also a few individuals who engage in contemporary art creation and curation, but that's it. Statistically speaking, it is very small, and the role such small numbers can play is very limited. If we took those away, Yunnan would basically be a desert, with nothing but the modernist influence left behind from the 85 period. Kunming still ranks up there with some of the big contemporary art cities such as Beijing, Shanghai, Guangzhou, Chengdu and Chongqing, mainly because most cities lack contemporary art spaces that are truly rooted in their localities. Why are there so few? It is because there is no demand. If there was more demand, then there would be more. This shows that China is not prepared to enter into the contemporary art context. It hasn't prepared at all; it is simply making the preliminary preparations.
Luo: The Chinese language academic scene has dubbed the last century of change as the modern transition, the transformation from a traditional society to a modern civilizational order supported by core modern values (freedom, reason and individual rights) and run according to market economics, democratic government and the ethnic nation-state. Critic Zha Changping describes contemporary China as a mixed modern society, where the premodern, modern, postmodern and alternative modern are mixed together, often interlocking and overlapping. This shows that China is not prepared to enter into the globalized world. It tends to view the world with a nationalist, clan-based worldview rather than universal values. One of the missions of Chinese contemporary art is to take part in promoting China's modern transition.
Everyone knows that Yunnan is richly endowed geographically, ecologically and culturally. The key is for artists to change their vision and language. Today's scene has developed into an ecosystem comprised of nature, society and culture, and when we look at this scene, we must keep in mind the pressing rural issues of land and left-behind children, the disparity of wealth and environmental issues. Beyond direct concern for social justice, even in artistic form, we must engage in a transformation of traditional aesthetic taste, of observational methods and concepts. Otherwise, we will always be in a state of cultural dislocation and chaos.
Translated by Jeff Crosby
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2013/01/09 by admin


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Don't take on more than you can manage in a single sorting session – keep your efforts small and sustained.
Colour coordinating items will help keep things sorted. Use red for holiday, green for sentimental, blue for office and green for garden equipment.
Whether it's for keeping kids' rooms organise or reminding you what goes where, labels will save the day! Ps. Play "match the label" games to add more fun to picking up toys.
Add lighting to shelves and alcoves so your storage efforts don't disappear into the shadows.
Store tea by the kettle, envelopes in your desk and the dog lead on a hook in the hall. If you abide by this rule, then you won't have to frantically search for things again. It also makes it easier to tidy them away afterwards!
Some things are born to be displayed: antique glass, beautiful books and pictures. Your storage system should allow elements of display throughout your house. Whether glass-fronted cabinets in the kitchen, shelves in the bathroom or a dressing table in the bedroom.
Tidy up deep kitchen drawers with removable drawer dividers, such as baskets or clear acrylic trays.
Reclaim the territory under your bathroom sink with a narrow bin and clear acrylic shoeboxes tucked neatly into the space surrounding the drainpipe. Fill the freezer caddy with cleaning supplies and trash bags for easy grab-and-go convenience. Tuck rags, sponges, and scrub brushes into the shoebox drawers.
Make the linen closet easier to navigate by storing sheets in sets rather than by type. Stack fitted and flat sheets and tuck pillowcases around the centre to hold each set together. Make finding items a snap by labelling all of the contents with a hanging tag.
Strip: Pull everything out of the cluttered storage area, pantry and closet so you can assess what you have. Scrap: From foods you never eat to clothes you never wear, throw away the stuff that is "no longer good, no longer relevant to your here-and-now life.


Continuing north we arrived at the George Bush Boulevard Bridge across the Intracoastal Waterway. We walked along residential streets trying to reach the bridge without success. I couldn't find any public access to the bridge. I wonder how maintenance crews get to it? Perhaps the lack of access is appropriate for a bridge named after a U.S. president (George Herbert Walker Bush). The former president vacationed in Delray Beach in the 1980s and 1990s.
Since I couldn't take a photo of the substructure, I came back onto the deck and was rewarded with a bridge opening. I was fortunate to see it since it only opens on demand. You can see that the sidewalks overhang steel girders, which are attached to counterweights that lift up each leaf like a teeter-totter.
The George Bush Blvd. Bridge was built in 1949, it's 270 ft long, in satisfactory condition, and carries about 8,000 vehicles a day. It's 35.1 ft wide but only provides 5.9 ft of vertical clearance above the channel. It was closed for five months in 2010 for a rehabilitation and it was closed again in July of 2012 for emergency repairs. They must leave the bascule spans open when the bridge is closed down for repairs because otherwise no one could use the Intracoastal Waterway.
Palm Beach County, Florida Bridges: George Bush Blvd. Bridge across the Intracoastal Waterway by Mark Yashinsky is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 United States License.


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Saša Ciani (born 25 March 2003) is a Slovenian professional basketball player for Cedevita Junior of the Croatian League. He is a 2.09 m tall power forward.

Professional career
Ciani started playing professional basketball for Koper Primorska. On 12 October 2020, Ciani signed with the Serbian team Dynamic VIP PAY and played in 21 games in the Serbian national championship. He previously played in the 2019–20 Slovenian national under-19 championship.

On 18 August 2021, Ciani signed a four-year contract with Cedevita Olimpija. A year later, in August 2022, Ciani was loaned to Cedevita Junior.

National team career
Ciani made his debut for the Slovenian national team in August 2022 in a friendly match against the Netherlands, and was also included in the preliminary roster for EuroBasket 2022.

References

External links
 Profile at Eurobasket.com
 RealGM.com profile
 Proballers.com profile

2003 births
Living people
People from Šempeter pri Gorici
ABA League players
KD Ilirija players
KK Cedevita Junior players
KK Cedevita Olimpija players
KK Dynamic players
Power forwards (basketball)
Slovenian expatriate basketball people in Croatia
Slovenian expatriate basketball people in Serbia
Slovenian men's basketball players

redpajama_set_name: RedPajamaWikipedia


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Venable LLP:
Tag Archives: domestic partner
Carol Calhoun quoted in article on elimination of domestic partner benefits
(Posted on February 10, 2015 by Carol V. Calhoun)
Carol V. Calhoun was quoted in an article in Human Resources Online entitled "Fair Play… Or Not?" about companies' actions to eliminate domestic partner benefits for unmarried employees who live in states in which same-sex marriage is now legal. With the majority of US states now allowing same-sex marriage, such actions are becoming more common. Ms. Calhoun is quoted both on why eliminating domestic partner benefits is popular among employers, and some of the pitfalls that may occur.
Employee Benefits Library: Same-Sex Spouse and Domestic Partner Benefits
(Posted on November 2, 2013 by Carol V. Calhoun)
Federal District Court Blocks Michigan Law Eliminating Health Benefits for Domestic Partners of Public Employees
(Posted on July 4, 2013 by Carol V. Calhoun)
Michigan Public Act 297 ("Act") prohibits public employers from providing medical and other fringe benefits to any person cohabitating with a public employee unless that person is legally married to the employee, or is a legal dependent, or eligible to inherit under the State's intestacy laws. In a June 28 decision, U.S. District Judge David Lawson (E.D. Mich.) has issued a preliminary injunction blocking enforcement of the Act based on a finding that the plaintiffs (same-sex couples of which one works for a Michigan local government) "have stated a viable claim based on the Equal Protection Clause on which they are likely to succeed."
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Copyright © 1998 - 2021 by Carol V. Calhoun
The opinions posted on this site are my own and do not necessarily represent my law firm's position, strategies, or opinions. The contents of this site, including all articles, opinions, and other postings, are offered for informational purposes only and should not be construed as legal advice. A visit to this site or an exchange of information through this site does not create an attorney-client relationship. You should consult directly with an attorney for individual advice regarding your particular situation. I am not your lawyer under any circumstances.


Adding a Room to Your Home: Is It the Right Choice for You?
When your personal situation changes and the home you're currently living in does not have enough space to accommodate your needs, you have a few options. You can build a new home, buy a larger one or add additional rooms to your existing home. In many cases, adding a room is the best option because you can stay in the same location and still have the space you need. However, you can't just start building onto your existing home without careful planning.
There are many things that you need to consider first, which is why hiring an interior designer to oversee the project is in your best interest. A professional designer has the experience to know what procedures to follow and how to avoid many of the common problems associated with this type of interior design project. He can also go over the details involved to help you determine if this is the right option for you.
Before you can determine if adding a room or rooms to your home is the right option for you, it's important to go over all the details first. You want to make sure adding this extra space is actually beneficial in order to justify the cost of the construction.
How much extra space do you need inside the home? Will adding one or two rooms give you the space you need to live comfortably? If not, finding a larger home may be your best option.
Do you have somewhere else to live while your home is under construction? It would be difficult to maintain a stable routine if you're living in the home while the construction is taking place.
Do you have enough outside space to add a room to your house? If the outside space is already limited, this might not be a good option.
Do you have the budget for this type of remodeling project and have you allowed extra in case of an emergency? You never know what unexpected problems might arise during the construction phrase, so it's always best to be prepared.
Our professional designers can go over all the details with you and help you determine if this is the right option for you. If you decide to go ahead with the project after careful consideration, our services include everything from the concept development stage to supervising and coordinating the entire project.
Before you can begin your remodeling project, you'll need to acquire the proper building permits. You can't simply hire a contractor and start building. Once the project is underway, you'll need to meet all of the state and federal rules and regulations that apply to building or adding onto an existing structure.
A state official will need to inspect the property during different stages of the construction and again once the job is complete. This is to ensure the wiring, plumbing and the structure itself meets state and federal regulations.
We are familiar with the rules and regulations pertaining to making changes to your existing home. Our experts can obtain all of the building permits required and handle all of the inspections for you so you don't have to worry with the details. Give us a call today to get started!


Discussion in 'Mac and PC Games' started by kylera, Jun 30, 2016.
What are some portable Bluetooth controllers that are smaller than the DualShock 4 and can work with OS X and Windows out of the box? iOS compatibility is not needed; I have a Horipad for that.
I've been looking at the offerings from 8bitdo. Are there others worth considering?
Microcenter got the 8bitdo's in and so just bought one to try and used it just now on this laptop.
- Wonderful presentation/box very Apple-esque.
- Nice analog sticks and buttons.
- Can work Bluetooth and via USB cable (to charge or a controller if your unit doesn't have BT).
- Cool designs available - I got the NES NA Edition (also has a Famicom one). Comes with a matching USB cable (but can use any Micro-USB cable for charging or play).
- Well worth the $40 retail.
I finally figured out the controller is set up as a Wii Classic Controller or a Wii U Pro Controller (the best controller out there equal to the XBox One Elite in my experience).
This is great if you are playing Nintendo games under emulation. NOT if you are playing Steam games for Windows.
First, the four buttons, being a Nintendo layout, are different from the XBox controller one - may take getting used to.
Second, games that let you use any PC controller you have to map out, sort of a pain, but if you are used to doing so, it will take time to configure.


Krita is a KDE module for sketching and painting, charity an end-to-end resolution for formulating digital portrayal files from blemish by masters. The focus provides users with both a classical and a new set of tools. Using Krita we are means to trade your creations to PSD, PPM, PNG, JPEG, TIFF and PDF formats.
As is expected, Krita offers we both matrix and raster collection to assist we with your work. You also get smudge, filter, hatching, texture, bend and mist brushes for that we can emanate tradition profiles.
With Krita we can suffer a really vast series of filters among that levels, curves, glur, tone to alpha, sharpen, sobel and unsharp are found.


I provide a total care celebrant service, weddings, vow reaffirmations, child-namings, memorials. I am more than just a celebrant, I go that little bit further, having achieved the highest recognized standard of practice in Australia, including Certificate IV in Celebrancy, providing a complete "total-care" service. Call me now for your wedding, or life milestone celebration.


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ist eine kleine Insel im Südosten von /  im Norden der Südinsel von Neuseeland.

Geographie
Die Insel befindet sich rund 3,5 km nordöstlich des French Pass, der die Passage zwischen /  und dem Festland der Südinsel bildet. Von der Küste von /  liegt die bis zu  hohe Insel rund 755 m entfernt. Die Insel erstreckt sich über eine Fläche von 0,37 Hektar und einer Länge von rund 100 m in WestNordwest-Ostsüdost-Richtung bei einer maximalen Breite von rund 58 m in Südsüdwest-Nordnordost-Richtung.

Verkehrsweg
Wegen Unterwasserfelsen um die Insel herum wurde auf der Insel ein Navigationslicht installiert.

Einzelnachweise

Insel (Region Marlborough)
Insel (Australien und Ozeanien)
Insel (Tasmansee)


We, the undersigned members of the Black Women's Roundtable, are writing to request an emergency meeting with you to share our deep concern and outrage about the plethora of domestic violence cases that has been exposed involving current and past players that are a part of the National Football League. In addition, we would like to discuss your recent decision to establish an advisory group of women to assist you in developing new policies to eradicate domestic violence within the NFL and other diversity issues within the NFL.
"They will try to scandalize the deceased," Rev. Al Sharpton said of the NYPD and what he anticipated they would say. "The issue is not about an unarmed man selling cigarettes … It's about a man who was subjected to a chokehold and is no longer with us." At that point, Esaw Garner collapsed and had to be held up by Sharpton and Rev. Herbert Daughtry. All of Garner's relatives were in pain and weeping as they left the stage. Sure enough, at a press conference, Police Commissioner Bill Bratton began his remarks by citing the arrest record of Garner and explaining that the police were there to apprehend Garner for the sale of illegal cigarettes.
"We must leverage our athletic success for economic development in our community," says Magic Johnson. Everett L. Glenn, president of the National Sports Authority, a division of ESP Education & Leadership Institute, is applying that principle to construction of the 49ers' new stadium under construction in Santa Clara.
BP's Ken Feinberg, who serves as czar for the $21 billion fund allocated to pay claims and damages to those affected by the Deepwater Horizon oil spill, has finally requested a proposal for settlement with the underserved and underrepresented in the Gulf Coast Region.


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Home > News > EFRA ups the ante over import standards
EFRA ups the ante over import standards
12th Mar 2020 / By Alistair Driver
MPs on the Environment, Food and Rural Affair (EFRA) Committee have stepped up the pressure on the Government over import standards.
They have tabled an amendment to the Agriculture Bill calling on the Government to enshrine its commitments to upholding food standards in future trade deals in law.
The amendment would ensure that food products imported as part of any future trade deal meet or exceed British standards relating to production, animal welfare and the environment.
It was tabled following an EFRA hearing this week with representatives from the agriculture, animal welfare and trade sectors. During the hearing, MPs took evidence on how the UK can ensure that imports under new trade agreements are produced to the high animal welfare and environmental standards expected by the public.
EFRA chair Neil Parish (pictured left, with Defra Secretary George Eustice and Jim Shannon, chair of the APPG for Eggs, Pigs and Poultry, at an APPG event) said: "British consumers rightfully expect that the food we eat is produced to very high standards.
"The evidence the Committee heard this week highlighted that the negotiation of new free trade deals present exciting opportunities to uphold and even boost our high production standards, but the Government must ensure that consumer preferences for environmentally-friendly and humanely produced foods are respected.
"Lowering food production standards should not be a bargaining chip to be used in future trade deals- allowing imports to be produced in ways that are illegal here would severely undercut British farmers.
"For these reasons, we are calling on the Government to uphold its commitments by amending the Agriculture Bill."
Pig production standards
While much of the focus has been on chlorine-washed chicken from the US, there are significant differences between UK pig production standards and those in some countries the UK is trying to forge deals with. In the NPA's submission to the Department for International Trade's consultation on the UK global tariff, senior policy adviser Ed Barker highlights aspects of US and Canadian production that are illegal in the UK.
Use of feed additive ractopamine and hormone use in the US. Ractopamine is banned by the EU and other WTO members.
The majority of US states are permitted by law to keep sows in stalls for their entire 16-week gestation period. Sow stalls have been banned in the UK since 1999.
The use of antibiotics for growth promotion, banned in the UK, is still permitted in the US.
It is legally permissible to castrate male piglets in the US, and there are no laws around when it should be done or around the use of analgesia or anaesthetics. The practice is banned under the Red Tractor assurance scheme, which covers 95% of the UK pig herd.
Recent AHDB analysis shows, as a result of these variables, that the average cost of US pork production is 40% lower than the UK's.
The Agriculture Bill is currently going through the Commons, before moving onto the Lords. While it is questionable whether the amendment will be accepted in the Commons, NFU president Minette Batters is confident the amendment will be tabled again in the Lords and will stick.
At February's NFU conference, she told Defra Secretary George Eustice the Government must retain the amendment when the Bill returns to the Commons.
"This will test the moral compass of the Government," she said. "That amendment has to stay in and, if it is taken out, we will know the road we are on. My worry is that we are talking a lot about raising the bar for UK farmers when we have no assurances on the standard of food imports. That does one thing – it puts these guys out of business."
Mr Eustice said he would 'have discussions' with other departments about maintaining our standards in trade deals.
Petition on import standards
More than 15,000 people have now signed an NFU petition calling on the Government to commit in law to introducing a ban under future trade deals on food imports that would be illegal for British farmers to produce.
You can sign the petition here


Find cheap Walsall hotels and bed and breakfast properties inc. many internet only discounts. Save up to 70% on late deals.
The Walsall Memorial Gardens and Arboretum holds the second biggest Illuminations in the country, attracting an estimated 250,000 visitors every year. Full descriptions of all these Walsall hotels are available on the hotel homepages. Walsall is a busy industrial town in England's 'black country', made famous during the country's Industrial Revolution. A local landmark is Barr Beacon, which is reportedly the highest point following its latitude eastwards until the Ural Mountains of Russia. Find cheap hotels and gueshouses in Walsall for Barr Beacon, Galton Valley Canal Heritage Centre, Forge Mill Farm, Bescott and Walsall Leather Museum.
The Best Western Baron's Court hotel is perfect for families looking for a reasonable deal in a practical travel location. Conveniently located just north of Birmingham close to the M6 toll and Chasewater Country Park, the property sits a few miles north of Walsall and has been accredited with a Green Tourism Award. The rooms are smart, the service efficient and although a little unimaginative and traditional where colours and furnishings are concerned it does have a modestly progressive feel. Guest can enjoy the informal atmosphere and international cuisine of the Brasserie restaurant. The indoor leisure facilities offer the chance to wind down with a relaxing swim or workout in the gymnasium. Kids 12 years of age and under stay for free when lodging in the same room as parents.
Room4U is not responsible for the contents of other sites suggested by any of these Walsall hotels. Last-minute offers and roomdiscounts are pre-arranged by the hotel at the discretion of our booking partners who supply reservations up to the date of departure. Call the Tourist Information Centre on +44 (0) 1922 625540. Room4U takes on a number of last-minute unsold rooms we can get substantial discounts on Walsall hotels and cheap b&b breaks.


Well-appointed with all the conveniences one can need to make their holiday comfortable our Twin room should be your only go to option if you are looking to get away from the hustle bustle of the city for the weekend or a long holiday. The large end to end windows will give you unhindered views of the mesmerizing natural beauty.
Extra mattress on request - on floor.


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A town of smugglers and family memories A LETTER FROM KILIS, TURKEY
DIANA JEAN SCHEMOTHE BALTIMORE SUN
Kilis, Turkey.
IMEET KILIS, finally, shrouded in darkness, lit by a full moon. I have waited these years and now I come, to discover its poverty in wartime, to see what he left behind.
The streets are narrow, crammed with squat concrete buildings like secrets stuffed in crevices.
A statue of Kemal Ataturk stands in the main square, of course, along with the obligatory quotation in the post office.
All this could not have been here then.
"These houses were built in what, the 1940s?" I ask Resit Celebioglu, the local stringer for the Milliyet newspaper. "1978," he says. He is eager to please.
This is not at all what I imagined.
We are near the border with Syria, a place my grandfather, Jack Shrem, left as a boy some 80 years ago. Modern Turkey would come 12 years after his departure. His birth certificate bore the seal of the Ottoman Empire.
It is the first time I have come here, ever. I approach Kilis like the agile boys carrying bracelets of sesame bread piled high on their heads, bearing the tales he raised me on: Cent'il Telj -- the Year of the Snow -- when the rooftops were covered in white and
families stretched rope from house to house to find the way. How my grandfather was left back in school one year because he could not pinpoint Chicago on an unmarked map.
Each mile farther south on the drive from Adana, I see my grandfather more vividly: coming home from work, he stands at the bottom of the stairs and whistles to us kids. In the fading afternoon, he teaches my brothers Torah, tries vainly to teach me Arabic script.
With the years, he shrinks, losing some of his hair, his sight, his hearing. Near the end, head thrown back against the white hospital pillow, eyes half-closed, he silently mouths the words of his last Passover seder.
But this Kilis is quite different from the one I imagined him leaving. The Kilis he knew was part of the Jewish community in Aleppo, Syria, some 15 miles south. Since 1939, Kilis has become the border town between Turkey and Syria, and that border has come to define Kilis.
This is now a rogue's town of importers, smugglers and customs officers. An unusual number of people here are missing arms or legs, victims of mines laid around the border to deter smuggling.
We stop for dinner at Kilis' best restaurant, a second-floor terrace with vines and colored lights hanging from the ceiling. Carpets stretched across the wall show mosques under crescent moons, rendered in phosphorescent blues and yellows modern Kilis' answer to black velvet paintings? A television set up in the corner relates the day's fighting in the Persian Gulf.
A gypsy has somehow gotten his violin to play Turkish music, while a boy raps a bongo. The pair wanders from table to table; the owner and a few customers, stoked with the powerful licorice-tasting raki, sing hearty and proud.
I am the only woman here tonight, though the restaurant is packed, one might even say loaded. I think I am the only one sober.
Before long, the locals come to join us, eager to talk, to boast, to complain.
"If Turkey instead of America attacked Iraq, it would take us 10 days to get to Baghdad," said one customs officer.
"This embargo . . . ," he said, and flicked his wrist in dismissal of the U.N. blockade. "It's nonsense. We send Iraq olive oil, livestock, wheat. It goes through Syria, then Jordan. And from Jordan to Iraq."
The customs agent estimated that 50,000 tons of olive oil have made it through to Iraq this way since August, while the Ankara government looked the other way. "From our end, its legal. What happens after the merchandise leaves Syria is their business."
"This place is dying. Everyone is going," said Resit. "Whoever can afford to has left." Kilis has no industry of its own, and men like Resit see no future here; I guess my family didn't either.
"I started out taking photos, and that wasn't enough. Then I picked up reporting, and that's still not enough. I do what I can to make it," Resit said.
Because of the high birth rate, the overall population of Kilis has risen to 83,000 since 1985. But the last ten years have been marked by the exodus of thousands from this town. Poverty and desperation have taken root in the place they left behind.
As in much of the rest of Southern Turkey, those who are rich have gone to Istanbul, fearing the gulf war may spill over or Kilis become part of another territorial tug of war with Syria.
The smugglers have gone to Urfa and Mardin, closer to the Iraqi border, where they can make some real money.
After dinner, Resit offers to show us the old Jewish neighborhoods of Kilis. We go through a labyrinth of cobblestoned streets, Romanesque arches and jutting wooden balconies more reminiscent of Prague or Budapest than Damascus.
"Yehudi masboot," he repeated. "The Jews, they were good."
L I wonder if this is part of local hospitality or Kilis lore.
Resit did not know the word synagogue, so our interpreter asked him about the Jewish churches. "Oh, there used to be five of them. There were so many Jews here, half the city was Jewish."
He said two of the temples became mosques after the Jews left for Istanbul and America, mostly between 1910 and 1920. And another became a hamam, or Turkish bath. "You want to go in?" he asked, knocking on the door of the bathhouse. I stopped him just in time.
It was outside the hamam that I began to suspect Resit's history of Kilis might be somewhat dubious. He pointed to a tower alongside the dome of the bathhouse. "That's where the Jews used to ring the bells from," he said.
He showed us a few other stone buildings, now abandoned, that once belonged to the Jewish community. At each stop, I tried to erase the buildings that looked as if they might have sprung up in the last 80 years, tried to re-create my grandfather's world.
But the distance he traveled, I realized, had to be measured on a less physical map.
I remembered the few women we'd seen in the streets, their heads covered, and how the restaurant's clients were all men tonight.
"You're probably the only woman who's ever been in there," said a friend who had come along for the adventure.
He was probably right. I suddenly see my grandfather in his old Dodge Dart, the summer I thought I would have to take a year off of college to pay my last year's tuition.
At that moment, all his ribbing about college being garbage for a girl fell away.
"If you stop, you'll never go back," he said. "I have some savings."
I would never see these streets in daylight, let alone learn their secrets. But for a moment in this rundown town, I glimpsed the length and breadth of one man's journey.
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