text:
Currently viewing the category: "Fall Festival Spotlight"
Beginning (Dea Kulumbegashvili, Georgia/France)
By Lawrence Garcia In CS85, Fall Festival Spotlight, Festivals, From The Magazine
By Lawrence Garcia Beginning opens with a sermon on the Old Testament tale of Abraham and Isaac, delivered to a Jehovah's Witness congregation in Georgia's predominantly Orthodox Christian Caucasus region. Just as the preacher, David (Rati Oneli), starts to expound on its implications regarding belief, the Kingdom Hall is firebombed by unseen attackers, transforming the [...]
The Calming (Song Fang, China)
By Courtney Duckworth In CS85, Fall Festival Spotlight, Festivals, From The Magazine
By Courtney Duckworth Inertia implies stillness, but more precisely it means that without intervention any body resists change. The word conjures ceaseless motion as much as it does stasis—someone who cannot go on, or someone who can do nothing else. Something of this semantic tension imbues The Calming, writer-director Song Fang's ascetic second feature. Lin [...]
Genus Pan (Lav Diaz, Philippines)
By Jesse Cumming In CS85, Fall Festival Spotlight, Festivals, From The Magazine
By Jesse Cumming Marking Lav Diaz's return to Venice four years and two features after winning the Golden Lion for the nearly four-hour The Woman Who Left, Genus Pan has invited easy jokes about its relative brevity by Diaz standards, clocking in as it does at a relatively efficient 156 minutes—even though it is, in fact, [...]
By Jordan Cronk In Columns, CS85, Fall Festival Spotlight, From The Magazine
By Jordan Cronk In a year when even the most perfunctorily political film has been deemed newly relevant, it's a 58-minute observational documentary from 2007 that, by quietly surveying the United States' progressive past, points most perceptively to the struggle that has faced the American Left since long before 2020. A history of violence and [...]
There Are Not Thirty-Six Ways of Showing a Man Getting on a Horse (Nicolás Zukerfeld, Argentina)
By Devika Girish In CS85, Fall Festival Spotlight, Festivals, From The Magazine, Uncategorized
By Devika Girish The films of Nicolás Zukerfeld pit images against words, staging wily games of onscreen meaning-making. Literary miscellanea often spur the ambulatory narratives of the Argentine director's works: a mysterious letter opens into two Rashomon-esque views of a street encounter in the short La distancia entre las cosas (2008); annotated articles and battered [...]
Our Time (Carlos Reygadas, Mexico/France/Germany/Denmark/Sweden)
By Blake Williams In CS77, Fall Festival Spotlight, From The Magazine, Spotlight
By Blake Williams For whatever thematic heavy-handedness or structural deficiencies Carlos Reygadas' films may consistently and inevitably fall victim to, the man sure knows how to open a movie. Information, images, forms arrive from somewhere as something undefined—stars shining from who knows how far away; a small child lost in a field as day loses [...]
A Land Imagined (Yeo Siew Hua, Singapore/France/Netherlands)
By Lawrence Garcia In CS77, Fall Festival Spotlight, Festivals, From The Magazine, Spotlight
By Lawrence Garcia About 20 minutes into A Land Imagined, the nominal protagonist, Detective Lok (Peter Yu), tells his partner of how, on his travels to various locales, he realized that he'd been to all of them before—in his dreams. "The strange thing is, I never saw those places as a child. How is this?" [...]
Nervous Translation (Shireen Seno, Philippines)
By Erika Balsom In CS77, Fall Festival Spotlight, From The Magazine, Spotlight
By Erika Balsom Why is it that, when destined for adult audiences, narrative films about children so rarely accord their diminutive protagonists the privilege of inhabiting a world of their own? Place a child at the centre of a film, and type will frequently take hold, dictated by the law of genre: either he is [...]
Cocote (Nelson Carlo de Los Santos Arias, Dominican Republic/Argentina/Germany)
By Jay Kuehner In CS73, Fall Festival Spotlight, Features, From The Magazine, Spotlight
By Jay Kuehner The titular nape of the neck invoked in the word cocote is both a marked corporeal designation and an intimation of something bad about to happen. In Cocote, it represents the site of a beheading and the dreaded aura of imminent retribution. If hacer cogote translates as "to expect something," then such [...]
The Green Fog (Guy Maddin, Evan Johnson, Galen Johnson, US/Canada)
By Lawrence Garcia That Guy Maddin's feature-length follow-up to his most monumental work to date—the staggering mise en abyme of The Forbidden Room (2013)—would be The Green Fog, a 63-minute, found-footage video reimagining of Alfred Hitchcock's Vertigo (1958), is entirely apropos (and a rather Maddin-esque sleight-of-hand) when one considers the fanfare with which The Green [...]
Madame Hyde (Serge Bozon, France/Belgium)
By Blake Williams In CS73, Fall Festival Spotlight, Features, From The Magazine, Spotlight
By Blake Williams "It's a cry echoed by a thousand sentinels An order relayed by a thousand heralds A beacon flaring up a thousand citadels A call to hunters lost in the great woods…" — Charles Baudelaire, "Les Phares" (1857) "A woman of fire makes no sense." — Madame Hyde (Isabelle Huppert) In [...]
Rat Film (Theo Anthony, US)
By Jordan Cronk In CS69, Fall Festival Spotlight, From The Magazine, Spotlight
By Jordan Cronk Searching society's margins for cultural lifeblood is a timeworn trait of nonfiction cinema. With Rat Film, director Theo Anthony goes one step further, looking to the gutters of Baltimore, Maryland, for evidence of the city's muted pulse. Aptly premiering in Locarno's Signs of Life program, Anthony's debut feature takes as its nominal [...]
Kékszakállú (Gastón Solnicki, Argentina)
By Jose Teodoro In CS69, Fall Festival Spotlight, From The Magazine, Spotlight
By José Teodoro From the start of Gastón Solnicki's Kékszakállú it seems like a boy's boy's boy's world. In the opening moments three boys bound off a high diving board, followed by a girl whose hesitation is so prolonged the scene ends before we learn whether she follows suit or opts for retreat. We see [...]
Ceux qui font les révolutions à moitié n'ont fait que se creuser un tombeau (Mathieu Denis and Simon Lavoie, Canada)
By Adam Nayman In CS69, Fall Festival Spotlight, Festivals, From The Magazine, Spotlight
By Adam Nayman How in the world did Ceux qui font les révolutions à moitié n'ont fait que se creuser un tombeau (Those Who Make Revolution Halfway Only Dig Their Own Graves) win the Best Canadian Feature prize this year at TIFF? I'm wondering this not because I think the film is unworthy, or necessarily [...]
Austerlitz (Sergei Loznitsa, Germany)
By Jay Kuehner In CS69, Fall Festival Spotlight, Festivals, From The Magazine, Spotlight
By Jay Kuehner If poetry after Auschwitz constituted an act of barbarism, then what can be made of curious tourists eating sandwiches, or snapping self-portraits, on the lawns of former concentration camps now repurposed as museums? The question isn't so much posed as interrogatively embedded in Austerlitz's conceptual framework, in which "dark tourism" is subjected [...]
Happy Hour (Hamaguchi Ryusuke, Japan)
By Michael Sicinski In CS65, Fall Festival Spotlight, Festivals, From The Magazine, Spotlight
By Michael Sicinski It's a strange film that calls to mind both Out 1 (1971) and Sex and the City. But Hamaguchi Ryusuke's Happy Hour is defined by that odd tug between spacious, undirected improvisation on the one hand, and an incident-driven examination of the ups and downs of four women friends on the other. [...]
Kaili Blues (Bi Gan, China)
By Shelly Kraicer In CS65, Fall Festival Spotlight, From The Magazine, Spotlight
By Shelly Kraicer The protagonist of Kaili Blues, Chen Sheng, is a small-town medical practitioner and ex-con. He bought his practice in Kaili, in southwestern China's Guizhou province, with a small inheritance after his mother died while he was in jail. He's not exactly a doctor; he's more of a dreamer, a poet, and a [...]
Blood of My Blood (Marco Bellocchio, Italy)
By Blake Williams Back in 2006, Marco Bellocchio sent the Rome Film Festival a project called Sorelle, a curious 68-minute whatsit he shot over a six-year period with a MiniDV camcorder. He made it in collaboration with several film-school students in Bobbio (Bellocchio's hometown), but, with a cast that includes his son (Pier Giorgio), daughter [...]
Chevalier (Athina Rachel Tsangari, Greece)
By Samuel La France In CS65, Fall Festival Spotlight, From The Magazine, Spotlight
By Samuel La France It's an irony surely not lost on Athina Rachel Tsangari that her Chevalier won the "Best Film" prize at the London Film Festival, considering that its story is built upon an obsessive quest to attain an even greater superlative. But even though the film finds six mostly well-off, middle-aged-and-up males pursuing [...]
Failure Hasn't Spoiled Him Yet: Alan Zweig Succeeds in Spite of Himself
By Jason Anderson In CS65, Fall Festival Spotlight, Festivals, From The Magazine
By Jason Anderson Alan Zweig's Hurt is steeped in failures, not all of them belonging to the film's unholy trainwreck of a subject, Steve Fonyo. In 1984, four years after a similarly valiant effort by Terry Fox that won the hearts and minds of the nation, the 18-year-old cancer survivor from Vernon, B.C. began a [...]


text:
Home > Highlighting JAPAN >Highlighting Japan November 2015>Science & Technology
Spelling Out the Message in Real Time
Thanks to a new technology and software app that convert audio announcements into multiple foreign languages in close to real time, essential information can now be channeled to visitors who cannot understand Japanese and the elderly or disabled who have difficulty hearing.
In Japan, announcements and audio guidance are heard in all kinds of places, from public facilities such as railways and airports to city streets and inside stores. Many foreign visitors are astonished at the sheer volume of all this audio traffic. However, for those foreigners who do not understand Japanese, as well as the hearing-impaired and elderly, these audio messages can be hard to hear and comprehend.
While some places do make announcements in English and Chinese, it is not possible to provide equivalent messages in every language that the visitors speak. Nonetheless, just because it is an audio announcement does not mean that translated versions of the same information must be delivered by audio means. Inspired by this notion, Yamaha Corporation developed a service called "Omotenashi Guide," which displays text-based translations on smartphone screens of these spoken Japanese-language announcements.
Operational testing of the Omotenashi Guide is currently taking place at locations such as Narita Airport, Tokyu bus, Shibuya Center Gai (Street), Aeon Mall and Sanrio Puroland. With similar tests to begin at railway companies in November, plans are under way to expand the service to even more facilities and areas.
Users only need to download the Omotenashi Guide app to their smartphones. In areas that have installed this service, when an audio announcement is heard while the app is open, the user's smartphone displays text translations in the user's default language almost simultaneously. The app can of course display Japanese as well.
Facilities wishing to incorporate this service do not need to install any special devices, and can continue using their regular microphone and speaker equipment. Since the smartphone's microphone will detect the audio data being delivered in the announcements, there is also no need for a specialized communication environment, such as an Internet or Wi-Fi connection. In addition to there being no limit to the number of compatible languages, another major advantage of this service is that it can be used anywhere, including underground complexes, trains, airplanes and so on.
Furthermore, this system works not only for regular, automatic announcements, but is also effective for real-time announcements read by live human voices. Human announcements appear not only as text on the screen, but can also be broadcast aloud in foreign languages following along after the Japanese oration.
"In trains or buses, conductors or drivers frequently make live announcements. Some of them can only speak Japanese, on top of which there is the possibility that what is said is not properly recognized because of their dialects," explains Yamaha Corporation New Values Promotion Office chief producer Yuki Seto. "Even in such cases, Omotenashi Guide is still able to properly display the necessary information. This is made possible with automated translation technology achieved through a joint research venture with the National Institute of Information and Communications Technology." Seto also notes that allowing such operators to conduct their work in a normal manner without burdening them was an important point of emphasis while developing this service.
As a service targeted at hearing-impaired users, a function has also been developed that prompts the user to look at the smartphone screen by turning on the smartphone's vibration mode when an announcement is detected. Although there are possibilities of other functional extensions, Seto explains that "we want to keep the features as simple as possible and achieve a usability that is wide-ranging and highly precise." Moreover, capitalizing on its strong point—that it is compatible with any language—Yamaha is setting its sights on combining this service with other technologies and services from Japan and marketing it globally.
Foreign tourism to Japan will no doubt continue to rise as the 2020 Tokyo Olympics and Paralympics approach. This looks to become a service that will provide Japan's unique sense of refined hospitality, or omotenashi, to the people of diverse nations and languages.
Bifue Ushijima

redpajama_set_name: RedPajamaCommonCrawl


Top Lawn& Garden Device Types; Lawn Mower Manuals; Snow Blower Manuals Indesit DI 620 Dishwasher User Manual. Open as PDF. of 16 DI 620. Dishwasher. DFG261 our upper spray arm has come off and we c My indesit dif 04 wont turn on.
Power suply and fu dishwasher tablets compartment isnt opening during Hi I have Don't get lumbered with an awkwardtouse lawn mower pick one of these toprated models instead. Hedge trimmer buyer's guide This expert guide explains the different types of hedge trimmer, plus how much you need to spend.
Genuine Indesit tumble dryer spares; Indesit belts, Indesit thermostats, Indesit pumps, Indesit heating elements and more. Domestic Appliance Spare Parts for Home& Garden Ransom Spares sells spares, parts and accessories for the home and garden.
We are a traditional family company based in beautiful Somerset surrounded by wonderful country side, helping to promote a" repair" culture instead of a" throw away" society. DFG261 our upper spray arm has come off and we c My indesit dif 04 wont turn on.
Power suply and fu dishwasher tablets compartment isnt opening during Indesit Dishwasher Parts This is your place for Indesit dishwasher spares. Our dishwasher spare part selection is comprehensive which means that no matter if its an Indesit dishwasher cutlery basket or an Indesit dishwasher spray arm that youre after, were sure to have it.
Motorola 1072ba2r User Guide User's guide, Owner's Manual, Instructions Book, Service manual, Workshop Manuas, User Manual Order now cor423r.


text:
Meet Kate Kelly
Heroes & Trailblazers
American Presidents & Their Families
Native American Heritage
Entrepreneurs & Inventors
Sports, Cars & Other Pastimes
Only in the USA
American Dogs
Fun Ways to Share History with your Children
New Ideas for Sharing History with Your Children
Ten Fun Things You May Not Know About Our Presidents
Welcome to America Comes Alive!, a site I created to share little-known stories of America's past. These stories are about Americans - people just like you - who have made a difference and changed the course of history. Look around the site and find what inspires you. Kate Kelly
Pedro Guerrero (1917-2012): The Only Photographer Trusted by Frank Lloyd Wright
Art school dropout who became Frank Lloyd Wright's exclusive photographer
Pedro Guerrero was born in Casa Grande, Arizona on September 5, 1917. His family had been in Arizona for several generations before the territory achieved statehood. His great-grandfather had settled in a little town known as Florence in 1876, and he went on to serve as justice of the peace.
Guerrero's family lived in nearby Casa Grande, but his father, a sign painter when Pedro was growing up, often traveled to Scottsdale for work.
Pedro Guerrero attended a Mexican-only elementary school. Non-whites were educated separately in Casa Grande at that time. Following high school graduation, Guerrero studied photography briefly at the Art Center School in Los Angeles (now known as the Art Center College of Design); however he soon dropped out and returned home.
Famous Architect Moves to Arizona
In 1937 Frank Lloyd Wright arrived in Scottsdale, Arizona where he started construction on a home and school in anticipation of spending his winters there. He named it Taliesin West after his summer home, Taliesin in Spring Green, Wisconsin.
With a well-known resident in their midst, Guerrero's father sensed an opportunity for his son. Guerrero senior had done some small projects for Wright; he encouraged his son to show his photographs to the famous architect.
Guerrero appeared in Wright's driveway one afternoon and caught sight of the man; Guerrero introduced himself as a photographer—the first time he had ever classified himself in that way. Perhaps because Wright knew Guerrero's father, he invited the young man to show him his portfolio.
Guerrero did not have many photos to display, but those he had caught Wright's interest. Wright also liked it when Guerrero commented that he would photograph Wright's work as it if were sculpture.
For the next twenty years (with the exception of time served as a photographer for the Army Air Corps during World War II) until Wright's death, Guerrero worked with Wright. Wright came to trust Guerrero implicitly and refused to work with any other photographer.
Based on his relationship with Wright, Guerrero soon began being hired to photograph the work of artists like Alexander Calder and Louise Nevelson. But his relationship with Wright was paramount. Guerrero always set aside everything else when Wright needed him.
As a young adult, Pedro Guerrero married and wanted a home near New York where he and his wife could raise a family. They chose a house in New Canaan, Connecticut because it was near the city, but it also placed him in the town where Philip Johnson built his Glass House. Guerrero went on to photograph for architects Johnson, Eero Saarinen, and Marcel Breuer.
He also freelanced for magazines like Vogue, House & Garden and Harper's Bazaar. In 1962 House and Garden hired him to go to Cambridge, Massachusetts to photograph Julia Child's kitchen. In his book, Guerrero writes that being in Julia's presence was simply a joy. He also noted that she prepared dinner for them and it was a "once-in-a-lifetime" experience.
Guerrero's Work Highly Esteemed
While all of Pedro Guerrero's work is held in high regard, he is most strongly identified for artfully capturing the work of Frank Lloyd Wright. Art critic James Auer, writing for The Milwaukee Journal Sentinel says it well. Guerrero's photographs of Wright's work "have a simple elegance that belies the skill that went into their making."
While most of Guerrero's photos concerning Wright are of his buildings, one unique series involves only Wright's hands. In 1953 Wright appeared on The Today Show where he was asked about the difference between organic and conventional architecture. One of Wright's editors was so taken by Wright's step-by-step description given on the morning news program where he artfully used his hands to describe his opinion on the matter that he phoned Guerrero to come to New York to document it.
In 1999 Guerrero, at 82, decided to leave Connecticut, his home of 50 years, and return to Florence Arizona, the town where his great-grandfather, Peter Collier Warner, had lived. He writes in his 2007 book, Pedro Guerrero: A Photographer's Journey: "I felt compelled to come here in response to a silent call, a chorus of voices from the past."
He relates that for as long as he lived in new York and Connecticut, if he attended parties in a tuxedo, just as the other guests were wearing, Guerrero was frequently mistaken as a waiter. "No matter how much I achieved, I always felt the need to explain just who I was and why I belonged."
When he returned to Arizona, he wrote: "…Looking around me—aware that these people, this place, and even the bigotry I experienced so strongly more than sixty years ago shaped me for the better—I feel a strong sense of peace. I no longer need to explain myself. I now realize that discrimination can have its positive side, propelling a person to action when he might just sit around believing that what others say about him is true. I know now who I am, and I know that I belong."
To read more about Frank Lloyd Wright's house Fallingwater click here.
To read more about Julia Child, click here.
Another famous photographer, Gordon Parks, chose to return "home" to the state where he was born after death. This article appeared in the Westchester Historian.
America Comes Alive
© 2011-2020 Kate Kelly
[email protected] • Privacy Policy
website design/development: deyo designs


If you have any queries regarding feedback, comments or sharing your articles and experiences, please feel free to contact me through my email address vijayrana.me[at]gmail.com. Alternately, you can fill the contact form below and hit send button. I will respond to you as soon as I receive your mail.


We The Animals is a sensitive, episodic coming-of-age novel about three sons of a very young, struggling mixed-race couple in Brooklyn. The boys' experience of family life veers from the brutality of domestic violence to unexpected moments of tenderness. Initially Torres uses first person plural narration to capture the closeness of the brothers, a solidarity that is shattered in the final chapters of the novel by the revelation of the narrator's secret.
We hit and we kept on hitting; we were allowed to be what we were, frightened and vengeful—little animals, clawing at what we needed.
Justin Torres's We the Animals begins his story of three brothers when his narrator is six years old, and much of the book focuses on those wonder-filled years of childhood. That these brothers live those years in poverty, with a sometimes-absent, often violent father and an overwhelmed mother, in no way diminishes the magic of these years. In fact, the novel's greatest strength is in the way this family's struggles reveal the mystery at the heart of all family relationships and explores the way they can careen between almost unbearable moments of love and equally unbearable moments of psychological pain. In some ways, We the Animals seems to suggest we have all been "little animals, clawing at what we needed."
The central figures of this young boy's life are, of course, his parents. Paps is an imposing physical presence, whose strength and quick anger signal both protection and danger to these boys. As the narrator matures, he begins to recognize that his father's anger is born out of his frustration and sense of failure. Paps and Ma married when he was 16 and she was 14, and their mixed marriage (he's Puerto Rican and Ma is Anglo) seems to isolate them and their children from their white working-class neighbors in Upstate New York. Ma works the graveyard shift and often seems a little addled by her circumstances. She loves her children with the ferocity of an animal, but this abused wife also dreads the maturing of these young boys into a manhood she equates with violence.
Yet that description belies the moments of joy and closeness within this family, of Paps teaching the boys (his "mutts") to dance like true Puerto Ricans or swimming out to the center of a lake, with his wife and youngest son clinging to his broad back. Wearily walking in to find her boys covered in tomato juice, instead of erupting in anger Ma is reminded of their births and joins the fun, asking them, "Make me born." The two older brothers, Manny and Joel, often seem to be the wild animals described by the title, but they also are capable of surprises. After flying kites, Manny considers his own sense of entrapment and observes, "What we gotta do is, we gotta figure out a way to reverse gravity, so that we all fall upward, through the clouds and sky, all the way to heaven...."
Torres chooses to tell this family's story through very short episodes that are connected thematically as well as through imagery. This structure makes We the Animals an excellent choice for the Common Reader. It is short&#8212compact enough to be read in a single sitting. Also, since the chapters are so brief and relatively self-contained, one or more could be read aloud at a gathering. While the subject matter and language are mature, Sigma Tau Deltans can easily choose chapters that are most appropriate for their local audiences. It's a book that touches on so many themes--domestic violence, gender and sexuality, sexuality and violence, ethnicity&#8212that it is certain to prompt lively chapter discussions.
Justin Torres is a graduate of the Iowa Writers' Workshop and is now a Wallace Stegner Fellow at Stanford University. His work has appeared in The New Yorker, Granta, Tin House, Glimmer Train, and other publications, and he is the winner of the Virginia Commonwealth University Cabell First Novelist Award. We the Animals was nominated for the NAACP Image Awards and the 2011 Indies Choice Book Award.


On Tuesday, June 26, John Beardsley, Director of Garden and Landscape Studies, was interviewed by Susan Stamberg for the NPR program "Morning Edition." They spoke about the cao | perrot installations Cloud Terrace (in the Dumbarton Oaks Gardens) and Red Bowl (in a twelfth-century leprosarium in Beauvais, France). You can listen to the full program here.


text:
DER FRÜHLINGS-UND SOMMERGÄRTNER ODER ANWEISUNG, JEDE ART VON BLUMEN, by…
(Chinese Dwarf Plants)
DER FRÜHLINGS-UND SOMMERGÄRTNER ODER ANWEISUNG, JEDE ART VON BLUMEN, Wohlriechende Niedrige Strauch-, Stauden- und Rankende Gewächse, Nebst Küchengartenkräutern, So Wie Auch Obstorangerie, Nach Art De Chinesen In Scherben Zu Erziehen, Zu Pflanzen und Abzuwarten Und Dieselben Für Den Winter Aufzubewahren und Zu Erhalten.
A rare horticultural manual by Johann Heinrich Seidel, widely regarded as the "Father of Dresdener Horticulture." After completing his apprenticeship at the Großer Garten in Dresden in 1764, he embarked on a seven-year Gesellenwanderung though Germany, Austria, Belgium, the Netherlands, England and France. During his travels he spent significant time at Het Loo, the Jardin des Plantes, Chiswick, and Kew while building important contacts with head gardeners throughout Europe. After returning to Dresden and taking over as court gardener, Seidel used those contacts to build one of the most important plant collections of its day, reaching 4300 species by 1806. Many of the choicest of these plants are described in the text. Seidel was one of the first German gardeners to breed camellias, but he also had a particular interest in Chinese dwarf plants and devoted an entire short chapter at the end of the book to promoting their interest. The colour frontispiece shows a Chinese gardener carrying several potted dwarf shrubs and fruit trees balanced on a pole across his shoulder. The name F. G. Leonhardi also appears on the title page, but Leonhardi was an economist and historian who wrote books on a variety of subjects. He is unlikely to have made much contribution to the horticultural content of the work. It is surprisingly rare. OCLC locates only 4 copies, of which three in Germany and one in Denmark. KVK adds one more. By Johann Heinrich Seidel, the "Father of Dresdener Horticulture" 16mo (17.2 x 10.3 cm); viii + 259 + (4) pp. + colour frontispiece and 2 engraved plates.
Contemporary quarter paper spine with printed title label, heavily scuffed, spine ends worn; marbled paper over boards, corners bumped and worn; light browning and occasional spotting to text; couleur frontispiece bears older, small pen tracings on colour frontispiece. A good copy.


text:
In Defense of Fan Fiction
May 3, 2012 May 1, 2012 mmjordahl
An article came out recently that made me very, very sad. And a little bit mad. Here is the article, if anyone wants to go read it, but I summarize thusly: many famous, very popular authors are vehemently opposed to fan fiction. Not only do they disapprove of it, but many of them consider it an infringement upon their legal rights and threaten to sue their biggest fans for writing it, which is up there with kicking puppies in terms of dickishness.
This is a very sad thing. It is also a terrible thing to say to fans. I will tell you why.
Fan fiction is not stealing, or copyright infringement. If fans were writing fan fiction and then selling it, sure–sue their pants off. A writer has to make a living. But most fan fiction goes up on the Internet, where other fans of the original work can read it for free, and no one is making a profit off of it (except, perhaps, the website hosting it, but I know nothing about the legal intricacies of that so I'm just going to leave it alone). Fan fiction does not threaten the writer of the original content in any way. The people who read fan fiction are also going to buy and read the original stories, and in some cases the fan fiction actually sort of works like free advertising.
So what is fan fiction? Simple: it's practice. Yes, the time and energy that a fan puts in to writing a fan fiction could have been spent on an original work, but what's the point in that if she hasn't learned how to write yet? By copying the style and pacing of a published author, aspiring writers are learning the craft of writing. Painters do this all the time. Go in to any art museum anywhere in the world, and I guarantee you will find at least one aspiring artist copying masterpieces for all they're worth, until they have the techniques down cold. And lots of famous authors re-write older stories and mythologies, which is essentially the same thing as fan fiction, and no one bats an eye at that. So why is it suddenly such a waste of time when aspiring writers do it?
What's more, fan fiction is practice that comes with a built-in audience and a measuring stick for quality. The people who read fan fiction also read the published work that inspired it, and they are (generally) more than happy to help other fans of that work better emulate it. It's trial by fire, but in a (relatively) friendly environment full of people who are interested in the same things you are interested in. You can get instant feedback on your writing, with very little in the way of actual risk.
And as for the really tetchy writers who just don't want anyone else playing in their playground–I'm looking at you, George R.R. Martin–tough shit. When you publish something, it no longer belongs to you. You don't get to control what the fans do with it once you put it out there. You have every right to prevent other people from profiting off your work (though judging by the fact that there's a freaking TV series about Game of Thrones, Martin is obviously not nearly as possessive when there's a huge paycheck involved), but you cannot stop them from elaborating upon it on their own time in ways that don't hurt your profit margin. If you don't like fan fiction of your work, don't read it. That is your only option.
Fan fiction gets a bad rap, and I don't understand it. I learned to write by copying the people I loved, and so have a lot of fantastic writers. In fact, when you take writing classes, they encourage you to emulate the styles of the greats, which is really just fan fiction lite. It doesn't violate copyright, and it certainly isn't a waste of time. Even when you're just doing it for fun, there's plenty of merit in it. Authors would do well to keep this in mind: fan fiction hurts nobody, and helps many, and whining about it only serves to alienate fans of your work. Leave them alone. They're paying you a compliment. Let them.
Mimetically yours,
"All worthy work is open to interpretations the author did not intend. Art isn't your pet — it's your kid. It grows up and talks back to you." -Joss Whedon
P.S. Yes, I have written fan fiction. I have written a lot of it. I have not written very much of it in recent years, but there's a Sherlock ditty in my head just begging to come out, so maybe someday I will actually finish writing it. You will certainly hear about it if I do.
P.P.S. Neil Gaiman is quite a bit more amenable to the idea of fan fiction, which makes me like him even more. Observe:
I think that all writing is useful for honing writing skills. I think you get better as a writer by writing, and whether that means that you're writing a singularly deep and moving novel about the pain or pleasure of modern existence or you're writing Smeagol-Gollum slash you're still putting one damn word after another and learning as a writer.
(I just made that up. I imagine it would go something like: "Oh, the preciouss, we takes it our handssses and we rubs it and touchess it, gollum….no, Smeagol musst not touch the preciousss, the master said only he can touch the precioussss…. bad masster, he doess not know the precious like we does, no, gollum, and we wants it, we wants it hard in our handses, yesss…" etc etc)
Tagged art, copyright infringement, fan fiction, fans, george r. r. martin, joss whedon, Nail Gaiman, practice, writing
Previous postHow the Cabin in the Woods Should Have Ended (SPOILERS FTW)
Next postAvengers and the Movie Revolution
5 thoughts on "In Defense of Fan Fiction"
May 4, 2012 at 5.08 pm
Like the comparison of the artists copying Masters. I think it is harder to "see" the original when it is language insstead of a visual piece so easier to feel threatened by copies.
Pingback: Why I Haven't (And Won't) Read Game of Thrones « Whoosh….
Pingback: Fan Fiction that Transcends Fandom | Whoosh....
brittawrites says:
September 2, 2013 at 9.15 am
"When you publish something, it no longer belongs to you. You don't get to control what the fans do with it once you put it out there." <—- This. This, so much this.
Pingback: It's Okay to Not Like Fan Fiction | Whoosh....


To many fly fishers, steelheads are the ultimate quarry. They are predominantly wild origin, swim in the most beautiful of places, and are aggressive to the cast fly.
When I'm working on new patterns at my fly-tying bench, I like to think of the fly from start to finish in the following order: the hook and its size, length, style, purpose and swimming action; the colours, both dark and light hues and their combinations; and finally the materials, using combinations of natural and synthetic fibres to capture the look and flow of being alive. Let's break these down.
Hooks: Steelhead flies are tied in traditional, classic styles with up-turned eyes on curved single hooks or the more recent intruder styles with trailing "stinger" hooks. Both styles are effective; however, flies tied on trailer or stinger hooks present a larger target, undulate with current flows and are deadly at hooking fish that are plucking at the fly from behind. I now tie most of my wet (sinking) fly patterns using articulated-shanked hooks or will make my own with Tuf-Line wire.
Colours: You can't go wrong with black, silver doctor blue, hot pink, purple and combinations of two of these colours. Experiment—you're allowed! The old saying "bright day, bright fly; dark day, dark fly" is a good rule to follow.
Materials: I like dyed natural furs like rabbit strip for tails, ostrich and polar bear for wings, seal's fur dubbing or mohair for bodies and guinea, mallard flank or marabou for hackles and collars. When I want flash, I use body-matching colours of Krystal Flash or Flashabou mixed with the tail fibres and will often substitute ice-dub for seal's fur on bodies.
To construct Brian's Deceiver in pink and blue, first take a 10-cm piece of 25-pound Tuf-Line, double it and pass it through the trailer hook's eye. Pass the hook through the loop in the wire, pull snug and bind the wire securely to the hook shank with 3/0 Monocord. Cement the wire with super glue or five-minute epoxy.
Next, dub a tag of seal's fur to the hook shank. Attach a five-cm length of rabbit zonker strip, trailing it to the end of the stinger hook. Fasten flash materials, extending them over the rabbit strip. Tie in the guinea feather by the tip, make four to six turns around the shank and bind them to flow backward.
Finally, dub a slim body of ice dub. Finish with the second collar: seal's fur, ostrich strands and guinea hackle. Finish with a nice head: super glue the head and finish with tying cement.


Follow our American expat family as we discover Singapore and Southeast Asia. We share our adventures and favorite places.
We're an American expat family on our second Singapore expat assignment. Our blog shares our adventures and travels around Southeast Asia, as well as our trials and tribulations of life in Singapore. We offer advice, give a view into our Singapore lifestyle, provide tips on where to shop, where to eat and where to live. Join us as we rediscover Asia.


Remember The One participated on July 13, 2013 at the 8th Annual Countdown to Kickoff. The weekend, hosted by former UGA football players David Greene and Matt Stinchcomb, provides fans with unique opportunities to golf, take pictures, get autographs, catch passes, run drills, and play games with some of their favorite UGA football players in the NFL, legends from the past, and the current UGA football team. All proceeds benefit Children's Healthcare of Atlanta and the Georgia Transplant Foundation. Remember The One had a booth and fans played games of Bean Bag Toss and Penny Coin Toss for prizes. It was a great day!


text:
Q: Java combine ImageIcons I have a small Java program that uses ImageIcons on JLabels to display pictures. I want to take two ImageIcons, combine them into a single ImageIcon, and attach that new Image to the JLabel, so something like:
ImageIcon img1 = new ImageIcon("src/inc/img/pic1.png");
ImageIcon img2 = new ImageIcon("src/inc/img/pic2.png");
//combine the two into a new Image
// ? ImageIcon newImg = img1+img2;

I am just not sure how to go about this, it just needs to be like I opened the two image files in paint, and copied one on top of the middle of the other (pic2 is about half the size of pic1) Any tips?

A: I haven't tried this but you should be able to do something like this (to draw them side-by-side)
Image image1 = img1.getImage();
Image image2  = img2.getImage();
int w = image1.width + image2.width;
int h = Math.max(image1.height, image2.height);
Image image = new BufferedImage(w, h,  TYPE_INT_RGB);
Graphics2D g2 = image.createGraphics();
g2.drawImage(image1, 0, 0, null);
g2.drawImage(image2, image1.width, 0, null);
g2.dispose();

ImageIcon newImg = new ImageIcon(image);

A: Got that working with this:
    @Test
    public void testIcon() throws IOException, InterruptedException {
        File file1 = new File("/etc/alternatives/start-here-32.png");
        File file2 = new File("/etc/alternatives/start-here-24.png");

        BufferedImage img1 = ImageIO.read(file1);
        BufferedImage img2 = ImageIO.read(file2);

        img1.getGraphics().drawImage(img2, 0, 0, img2.getWidth(null), img2.getHeight(null), 0, 0, img2.getWidth(null), img2.getHeight(null), null);
        showImage(img1);
        Thread.sleep(10000);
    }

Here is the showImage method:
     public void showImage(final BufferedImage image) {
        JFrame frame = new JFrame();
        frame.setDefaultCloseOperation(WindowConstants.DISPOSE_ON_CLOSE);
        frame.setLayout(new BorderLayout());
        JPanel imagePanel = new JPanel() {
            @Override
            public void paint(java.awt.Graphics g) {
                g.drawImage(image, 0, 0, image.getWidth(), image.getHeight(), 0, 0, image.getWidth(), image.getHeight(), null);

            };
        };

        frame.getContentPane().add(imagePanel, BorderLayout.CENTER);
        frame.setSize(new Dimension(image.getWidth() + 100, image.getHeight() + 100));
        frame.setLocationRelativeTo(null);
        frame.setVisible(true);
    }

A: The Compound Icon class provides you with flexibility for combining icons in different ways.

redpajama_set_name: RedPajamaStackExchange


Eddie Hearn continues to blast the idea of a rematch between WBC world heavyweight champion Deontay Wilder, and lineal heavyweight champion Tyson Fury, in-hopes that a unification match happens between Wilder and Anthony Joshua on April 13th.
When discussing why Alexander Povetkin got the spot that Wilder was campaigning for, Hearn explained that "if you want to do a show at Wembley you get one shot, one date on the calendar… There was only one date available all of next year and that's April 13. What you cannot do is wait and see what happens or wait till January. Impossible. This is what we're doing and if you would like to join us you're more than welcome.
Time is not on Hearn's side, as December 22nd seems to be the deadline for all parties involved. "We can't wait much longer and we can't force Wilder to fight," Hearn explains. "Wilder can try to fight Fury again but then he's not thinking about his legacy.
Hearn blames Wilder's "stubbornness and ego" if a deal for a unification fight is not made, claiming he'd be happy to have Showtime bid to have a Joshua-Wilder fight on Pay Per View.


text:
You are here: Home › About us › Cultural events › Exhibitions › Exhibitions - March 2016
Exhibitions - March 2016
Books Discovered Once Again
March 31 - May 21, 2016
The exhibition concludes a project of the same name and features history of reserve collections of the National Library of the CR. The books came in the NL´s possession after World War II, when a large number of books were secured on the Czechoslovak territory, some of them confiscated, others dispossessed. Originally they were kept at libraries of different unions, institutions, or private owners. Twelve thousand volumes were selected to be provided with basic evidence and description in order to make them accessible to both professionals and memory institutions. Simultaneously, the archival and historical research was conducted that included also legal problems. The display presents the often complicated and long story of these documents.
Exhibition corridor, ground floor
Monday to Saturday: 9 am – 7 pm
Admission 10 Kč (the NL readers free).
The Stories of Places. Topography of the Contemporary Nation´s Memory
January 18 – March 19, 2016
An exhibition features the outpout of the project of the same name, conducted by the Institute for Contemporary History, Academy of Sciences of the CR, and the Institute of Slavic and German Studies of the Philosophical Faculty, University of J. E. Purkyně in Ústí nad Labem. The aim of the project is to map places, burdened by events between 1948 and 1989. With the aid of stands and a catalogue, the display presents some of researched results. However, the substantial purpose of the exhibition is a resercher´s seat that provides electronic database, which is the major output of the project of the National Cultural Identity (NAKI), subsidised by the Ministry od Culture of the CR.
Entrance free
Media partners of the NL
Opening hours and entrance fee
Exhibitions in the NL
Moday - Saturday 9 am - 7 pm
The Klementinum Gallery - Exhibition Hall
(entrance from Marianské Sq., entrance B2)
Tue-Sun 10.30 am - 6 pm
Fee: mentioned by the exhibitions
January February March April May June July
August September October November December
October - December
National Library of the CR
Exhibitions department
Telephone: +420-221663332
exhibition@omega.nkp.cz


Our company has been concentrating on brand strategy. Customers' pleasure is our greatest advertising. We also source OEM service for Featured, , , , Sincerely stay up for serving you from the in the vicinity of future. You are sincerely welcome to go to our company to talk company face to face with each other and create long-term co-operation with us!


From foundations to roof, EXPOL has a high performance insulation product for every part of your home.
Insulation in rental properties: Will your investment meet the new requirements of the Residential Tenancies Act?
Thank you for visiting Expol. To view the site please upgrade to the latest version of Internet Explorer, Chrome or Firefox.
© 2019 Expol® All rights reserved.


We are very aware that we must pay a visit to the doctor if mole or stain with unusual color, shape or size occurs on the skin. But does the same goes for nails? Have you ever heard of someone having cancer on the nail(s)?
Yes, the same goes for nails as well, although it is a rare occurrence, all cancers that attack the skin can develop on the nails and toes.
In fact, the cancer itself does not develop on the nail but on the tissue under the nail.
Usually, a light brown line under the nail appears at first, and then it spreads and becomes a thick dark line.
But fortunately not all such occurrences have to be a sign of cancer. In some cases the lack of certain vitamins and minerals in the body, or sometimes a mechanical injury.
Also, it can be a sign of lack of oxygen in the blood, heavy metal poisoning, problems with the kidneys, but also some other dangerous diseases.
So as soon as you notice some change on the nails you must see a doctor. No matter what it is, if detected in time, the chances of complete successful treatment are very high.


text:
William Tell - Overture Gioachino Rossini Download 'William Tell - Overture' on iTunes
'Teaching is not just a fall-back. If you're a good teacher that's a gift.' – Antonio Pappano and Joyce DiDonato speak exclusively to Classic FM
5 June 2018, 17:11 | Updated: 22 October 2020, 08:56
By Elizabeth Davis
Mezzo-soprano Joyce DiDonato and conductor and pianist Antonio Pappano are two of the most successful musicians in the world. Ahead of a recital at the Royal Opera House, we spoke to them about the mental strain of being a musician, the importance of music education and what they'd tell their 18-year-old selves
The life of a professional musician can seem glamorous and privileged – and of course it sometimes is. But there are also the bad auditions, the stress of live performance and the constant competition with your peers.
What mental pressures are musicians under?
"There's very little middle road in this career," said DiDonato. "It's either super high or super low and you get whiplash in between those peaks and valleys."
Pappano, who's been Music Director at The Royal Opera since 2002, agreed:
"Let's not underestimate how difficult it is to be a performing musician. Coming to terms with what the realities of your talents are. This is the hard bit. Because what if you come to a point in your career and you realise you're maybe not good enough to make it to the top. How do you deal with that information?
"I'm not saying that one shouldn't aim for the top, but not everybody's going to get there. And I don't think that's a disaster. Teaching is not just a fall-back. If you're a good teacher that's a gift."
Why is music education so important?
"Music is a tool to give kids today a means to express themselves," said DiDonato. "It connects you to your classmates, to your fellow human beings. There is power in that."
Joyce DiDonato and Antonio Pappano were filmed backstage at the Royal Opera House. Their recording 'Joyce and Tony', recorded live at Wigmore Hall, is out now.
See more Latest features
Afghanistan: Musician weeps as Taliban burns his musical instruments in front of him
This in-depth test about your favourite classical music will reveal your age, height and star sign
Society dedicated to 'preserving' Western classical music sparks accusations of racism
See more Browse by


Once you've set your business hours for your Department the next step is setting up your call routing rules for when your line is open vs when it's closed.
To get started, navigate to Admin Settings > Departments and select your Department to access Business Hours & Call Handling > Details.
Remember, if you've selected specific hours for your line, you'll need to go through these steps twice: once for open hours routing and once for closed.
Here's the first call handling option you'll choose: do you want callers to reach an Operator when they contact your line or other routing options (system greeting)?
Keep in mind that selecting Operators gives you the ability to change how long calls ring out to Operators before defaulting to your second option.
Select this option to route callers straight to your Main Line or Department voicemail. Operators will receive a notification when a voicemail is received.
If you choose this option, make sure you've set open and/or closed hours voicemail greeting.
If you'd rather direct callers to a message without the option to leave a voicemail, select To a Message to play an automated response.
Just like with your voicemail, you'll be able to either use our default message, record your own, or upload a pre-recorded one.
Select this option to route callers to another Department or your Main Line. You'll just need to select the available Department or Main Line from the drop-down menu.
You'll even have the option to create a brand new Department, too.
Select this option to route callers to a specific team member/room phone/phone number.
Either type in the team member or room phone's name to pull it up via search. If entering a phone number outside of Dialpad, hit Enter after you've added the number to save.
Select this option to route callers through an automated response menu where a system greeting will read off the preset menu options you choose.
If you prefer, you can record or upload your own greeting to play for your callers.
You will only see the "Operator" option on your drop-down if you selected Other Routing Options as your first call routing option.
Not seeing the option to forward to a number? Reach out to our Support Team to get this enabled.
Need to have a specific recorded message play as one of your dial options? Select Recorded Message to upload or record your own message.
Want callers to be routed to a voicemail if Operators are busy? In your menu, select Operators as your 1st option, then voicemail as your second.
Now that you've set call routing rules, the last step is to review and set any advanced settings like automatic call recording or default caller IDs.


text:
Autograph letter signed
Item#: 116160 price:$29,500.00
"I HAVE HAD MY COFFEE & BREAD, & SHAN'T GET OUT OF BED TILL IT IS TIME TO DRESS FOR MRS. LAFFAN'S XMAS DINNER THIS EVENING—WHERE I SHALL MEET BRAM STOKER & MUST MAKE SURE ABOUT THAT PHOTO WITH IRVING'S AUTOGRAPH": EXTRAORDINARY 26-PAGE SIGNED AUTOGRAPH LETTER FROM MARK TWAIN TO HIS WIFE, CONCERNING A CHRISTMAS PARTY WITH BRAM STOKER, NEGOTIATIONS IN CHICAGO OVER PAIGE'S AUTOMATIC TYPESETTING MACHINE, AND HIS TRIP BACK HOME FROM CHICAGO ON A LUXURY TRAIN CAR
TWAIN, Mark. Autograph letter signed. The Players, New York, 1893. Thirteen sheets of unlined stationery, each measuring 5-1/2 by 8-1/4 inches; pp. 26, with original hand-addressed mailing envelope. Housed in a custom chemise and full morocco slipcase. $29,500.
Splendid 26-page signed autograph letter, written entirely in Mark Twain's hand, from Twain to his wife, Livy, regarding Twain's plans for Christmas including meeting Bram Stoker; his meetings in Chicago over Paige's automatic typesetting machine (which would eventually bankrupt him); and his train trip back to Chicago in a luxury train car, with original hand-addressed envelope to "Mrs. S.L. Clemens."
This 26-page, four-part letter was written to Twain's wife, Livy, as consolation for Twain's failure to write for three days and as consolation for the many letters he received from her. Twain and his wife had an unusual marriage for the 19th century; it was a true love match. Over the course of their 17-month courtship, Twain wrote Livy 180 letters. Better-educated and more religious than her husband, Livy was a moderating force—both at home and as his primary editor—on the oft-wild Twain, who she nicknamed "Youth." This letter is a poignant example of their correspondence, reflecting Twain's love of Livy and their children, as well as his reliance on Livy's counsel.
The letter, written entirely in Twain's hand (and informally divided into four parts by him), reads in full: "LETTER No. 1 The Players, Xmas, 1893. Merry Xmas, my darling, & all my darlings! I arrived from Chicago close upon midnight last night, & wrote & sent down my Xmas cablegram before undressing: 'Merry Xmas! Promising progress made in Chicago.' It would go to the telegraph office toward 8 this morning & reach you at luncheon.
"I was vaguely hoping, all this past week that my Xmas cablegram would be definite, & make you all jump with jubilation, but the thought always intruded itself, 'You are not going out there to negociate [sic] with a man, but with a louse. That makes results uncertain.'
"I was asleep as Christmas struck upon the clocks at midnight & didn't wake again till two hours ago. It is now half-past 10 Xmas morning; I have had my coffee & bread, & shan't get out of bed till it is time to dress for Mrs. Laffan's Xmas dinner this evening—where I shall meet Bram Stoker & must make sure about that photo with Irving's autograph. I will get the picture & he will attend to the rest. In order to remember, & not forget—well, I will go there with my dress coat wrong-side out; it will cause remark & then I shall remember.
"And Jean's writing-pad—I will wear my shirt wrong-side out—no, I will make a memorandum right now, & tell Mr. Hall to buy & ship those pads too first thing in the morning—& also sent to Elmira & have Mamma's witch-hazel jelly & so-forth purchased & mailed at once.
"That's attended to—& memorandums added concerning one or two other things which Mamma suggests.
"And I will say while I think of it that the letters come in twos & threes, just as you say—generally in threes. I have been gone from here 3 days last night I found riches awaiting me when I went to bed—4 letters from you, Dec. 9, 10, 11, 12—& a letter from Jean & one from Clara—& a pang & a vacancy, for poor old dear Susy is sick. I want & must have some letter news from there!
"LETTER No. 2. I tell you it was interesting! The Chicago campaign, I mean. On the way out Mr. Rogers would plan-out the campaign while I walked the floor & smoked and assented. Then he would close it up with a snap & drop it & we would totally change the subject & take up the scenery, etc. Then a couple of hours before entering Chicago, he said: 'Now we will review & see if we exactly understand what we will do & will not do—that is to say, we will clarify out minds, & make them up finally. Because in important negociations [sic] a body had got to change his mind: & how can he do that if he hasn't got it made up, & doesn't know what it is.'
"A good idea, & sound. Result—two or three details were selected & labeled (as one might say, 'These are not to be yielded or modified under any stress if argument, barter, or persuasion.' There were a lot of other requirements—all perfectly fair ones, but not absolute requisites. 'These we will reluctantly abandon & trade off, one by one, concession by concession, in the interest of for the preservation of those others—those essentials.' That was clear & nice & easy to me—remember. One could dally with minor matters in safety—one would always know where to draw the line.
"We telegraphed Stone, (counsel for Webster), to be at the Auditorium in the evening, & at 8 he arrived with Charley Davis & Mr. Dewey (Vice President of one of the banks, & Webster's right-hand man.) They said Paige's lawyer, Mr. Walker, would receive us at his dwelling at any hour before midnight. Mr. Rogers told them our plan, & they were visibly dismayed. They said Mr. Walker was the ablest lawyer in the West, a fine & upright gentleman; thoroughly despised his client but would protect him sternly against one or two of the proposed chief requirements. Mr. Rogers was not disturbed. he said we would wait & see.
"Next question: Had Clemens better go along? This was discussed. Stone & Dewey finally said Yes, but with this proviso: That Walker must not reveal to Paige at next morning's conference (where Paige himself would be present) that Clemens was here in Chicago meddling. Stone & Dewey said Walker had a fine library, was a man of wide literary affections, & a visit from me could hardly fail to have a good effect.
"Last question of all: Who is to do the talking at Walker's? Oh, Mr. Rogers, by all means, by all means—no interior voice must meddle except when actually called upon.
"As to next mornings confederence, Clemens must not be there, of course.
"So we drove to Walker's—a sumptuously equipped dwelling in Michigan Avenue. Mr. Walker was a most oppressively grave man, conspicuously wortkarg [German: "taciturn"] & deliberate, & full of long expectancy—baffling pauses. We all sat grimly down & endured the unavoidable perfunctory light skirmishing about the weather & what sort of a trip we had had & the extraordinary collapse of local business since the Fair closed—oh, so empty & tedious, but got to be done; you've got to strip the limb before the surgeon can begin his work. Then there was a dreary pause, & everybody knew that the thing that would break it would be the opening gun.
"And so it was. Mr. Rogers began in a low voice & very deferentially, & gradually unfolded & laid bare our list of requirements. Toward the last it was visibly difficult for Mr. Walker to hold still. When at least it was his turn he said in his measured & passionless way, but with impatience visibly oozing out of the seams of his cloth—
"'I may as well be frank with you, gentlemen: Mr. Paige will never concede one of these things. Here is a proposed Company of $5,000,000. Mr. Paige has consented to be reduced to a fifth interest. That seems to me to be concession enough,—I cannot & must not advise him to consent to those restrictions.
"[One of them was, that the patents should not go back to Paige the moment he could sometime or other prove a momentary & technical insolvency against us—one of Paige's usual traps.]
"Mr. Rogers was not disturbed by this very decisive remark, but I was, & so were the others. We all kept still & Mr. Rogers went easily & comfortably & logically along with his talk, drawing Mr. Walker into the stream with him, & the two floated along most satisfactorily together, Mr. Walker softening his rigors steadily & coming a little nearer & a little nearer to Mr. Rogers's way of thinking, & at last & without invitation, I have in my first interruption said: 'Mr. Walker, Mr. Paige is to have a million dollars, which is a fifth of the stock, & in return the company get the patents (& may keep them, under certain conditions.) It is a trade. A million dollars for value received—is that it?'
"'Yes.'
"'Suppose Paige sells $100,000 of that stock & then we fall insolvent: Does the whole patent revert to Paige, or only nine-tenths of it?'
"'W-well—er—the fact is the point you make is unassailable. The sold tenth covers a tenth of the patent, is an asset of the company & salable as such.'
"Mr. Rogers clinched the thing instantly by remarking, just audibly, but audibly: 'We withdraw requirement No. 2.'
"[He said privately, before the evening was over: 'That was a splendid shot of yours and knocked away no end of troublesome rubbish; how did you happen to think of it?']
"Mr. Rogers gradually broke down Mr. Walker's objections, one after another till there was nothing left but his idea that in fairness Paige was not getting enough. Then Mr. Rogers, who had twice rejected private hints from Stone concerning royalties by saying: 'Let us take things in their proper turn—that is the final card in the game' said: 'Mr. Walker, do you know how many mortgages, in the form of royalties, rest n this machine?'
"'No—I have but a vague idea.'
"Mr. Rogers named them all, in cold detail—& said: 'It is his own fault that he has but a million dollars—left. if you make but a hundred machines a year the royalties would pay the interest on $2,000,000. Mr. Paige, therefore, has exercised his indisputable right to do with his own as he pleases, with this result: that he has parted with two-thirds of his ownership—without doubt for value received—& he cannot expect to have his cake & eat it, any more than other people.'
"Mr. Walker had never dreamed that there was such a stack of royalties. he had to confess that $1,000,000 was easily all that Paige was entitled to. By this time things were pretty smooth & comfortable, & the conference over in effect—in fact, except that these had been no spoken verdict. Then Mr. Walker turned toward me & said: 'Mr. Clemens, I've read every line you were wrote, & I want more. I make you this offer: I will advise & urge Paige to concede every requirement that has been asked here to-night, provided you'll write another book.'
"That was his badinageous way of conveying to the conference what he had really made up his mind to do. I promised the book. We all got back to the hotel at midnight well content with the evening's work—for unquestionably the outpost had been gained. It was extremely unlikely that the citadel—Paige could be carried next day, but work on it could be begun, anyway.
"LETTER No. 3. The Conference was for 9:30 a.m. We ordered ourselves called at 7:45, which gave us chance for leisurely bath & leisurely breakfast—that is, I had the leisurely bath, but it was so leisurely that Mr. Rogers didn't get any, which caused him to observe that the kingdom of heaven is for those who 'look out for the details of life,' & he judged I would get there. He left for the Conference at 9:30 & Charley Davis & I left for the White City at the same time. I was to be back at 2 to deliver final orders as to our car when the colored waiter should arrive at that hour to get them. If there was no message for me from Mr. Rogers, I was to tell the waiter to have our car attached to the Limited, leaving at 5 p.m.—otherwise, attach it to the night express, leaving at 10 p.m. Davis & I examined the White City in detail, on foot, & got back at 2, dog-tired. No message from Mr. Rogers, so I told the waiter we would leave at 5.
"The absence of a message meant what was to be expected—Paige was holding out & wouldn't sign.
"R. soon arrived & he & I took luncheon, preparatory to having a final meeting with Stone and Dewey at 3. Mr. R said that when they arrived in one of Mr. Walker's offices there was a stormy interview going on in an inner one between Mr. W. & Paige, they could not help hearing Walker say, ' No, I do not consider you a good businessman—far from it. A good businessman would grant all these concessions, for they are absolutely & unqualifiedly fair & reasonable, & would not throw away this golden opportunity—the best one by long odds you have ever had, & possibly the last one you will ever have, for you are bankrupt, deep in debt, without credit, without a friend of a well-wisher in the world as far as I know.'
"Plain language & to the point. Then all met & the conference began. mr. Rogers had asked me what line of deportment he would best follow toward Paige. And I had said: the one you observe with everybody—courteous, kindly, passionless. It's useless to discuss the matter further.
"Mr. Walker said—'Your creditors will gladly wait, no doubt, if they know you are about to receive a million dollars of valuable stock, & will be glad to take their pay in stock. The matter of stipend, be it big or be it little, is not worth standing out for. Situated as you are, what course is left you? What can you do?'
"Then Paige did what Mr. Rogers was prepared for—by the happy accident that I had thought to prepare him. he had asked me to leave nothing unmentioned that I thought Paige might chance to do or say. And I had said, 'Whenever I have found a capitalist, he has immediately gone to work underhand to persuade that capitalist to withdraw until he (Paige) could get me & others out of the way, then he would give said capitalist better terms & the two would have the whole of the swag.'
"So now, when asked what he could do, Paige piped up & said: 'What can I do? I can do this—& will immediately. I will bring suit against the Connecticut Company & annul that contract. Then I will be free and ready to treat with other parties. Give yourself no trouble—I know quite well what to do.'
"Mr. Rogers said nothing, but he was the only man present who knew the hidden meaning of the remark.
"At 3 we went to meet Stone and Dewey at the latter's bank. They had learned what had occurred between Paige & Walker after the Conference. Paige had ordered Walker to bring suit against the Connecticut Co. immediately. Walker had declined. Paige had insisted. Walker had said that according to his recollection of the contract the Conn. Co. had not violated it—or, if they had, it was in only small technical & hardly avoidable ways—ways which did not warrant a suit. P.—Where are the papers? W.—In the Safety Deposit. P.—Send for them—we will see. W.—Can't, now. P.—Then at the earliest moment.
"We discussed, Mr. Rogers explained the meaning of Paige's move, & proposed to go over & explain also to Walker. All said that would be splendid. So Mr. Rogers went over & explained the remark—which made Walker still more ashamed of his client. Then Rogers said: 'I wanted to save Mr. Paige useless labor. All these other parties and I are now joined together. I can never have any dealings with Paige which leave them out. I would like him to understand that I will not have an interview with him at which these gentlemen are not present.'
"That ended the Chicago campaign. There was nothing overlooked or left undone that could have been done, except the raising of Paige's stipend to his fancy figure of $3,000 a month—& we were all opposed to that. The waiting game has been my pet notion from the beginning. I want it played till it breaks Paige's heart. As I reason: You can afford to wait 3 months; Western Mrf Co can afford to wait 6 months; C.C. have got to wait, whether they can afford it or not—their bread & life depend upon it; Mr. Rogers can wait indefinitely. As far as I can see, Paige is the only one who can't wait; to him, time is shod with lead; every day, now, adds to his gray hairs, & spoils his sleep. I am full of pity & compassion for him, & it is sincere. If he were drowning, I would throw him an anvil.
"LETTER No. 4. We had nice trips, going & coming. Mr. Rogers had telegraphed the Pennsylvania Railroad for a couple of sections for us in the fast train leaving at 2 p.m. the 22nd. The Vice President telegraphed back that every berth was engaged (which was not true—it goes without saying) but that he was sending his own car for us. It was mighty nice & comfortable. In its parlor it had two sofas, which could become beds at night. It had four comfortably-cushioned cane arm-chairs. It had a very nice bedroom with a wide bed in it; which I said I would take because I believed I was a little wider than Mr. Rogers—which turned out to be true; so I took it. It had a darling back porch—railed, roofed, & roomy; & there we sat most of the time & viewed the scenery & talked, for the weather was May weather, & soft dream-pictures of hill & river & mountain & sky were clear & away beyond anything I have ever seen for exquisiteness & daintiness.
"The colored waiter knew his business & the colored cook was a finished artist. Breakfasts: Coffee with real cream, beefsteaks, sausage, bacon, chops, eggs in various ways, potatoes in various—yes, a quite wonderful baked potatoes, & hot as fire. Dinners—all manner of things, including canvas-back duck, apollinaris, claret, champagne, etc.
"We sat up chatting till midnight, going & coming, seldom read a line, day or night. Though we were well fixed with magazines, etc.; then I finished off with a hot Scotch & we went to bed & slept till 9.30 a.m. I honestly tried to pay my share of hotel bills, fees, etc., but I was not allowed—& I knew the reason why, & respected the motive. I will explain when I see you, & then you will understand.
"We were 25 hours going to Chicago; we were there 24 hours; we were 30 hours returning. Brisk work, but all of it enjoyable. We insisted on leaving the car at Philadelphia so our waiter & cook (to whom Mr. R gave $10 a piece), could have their Christmas-eve at home. Mr. Rogers's carriage was waiting for us in Jersey City & deposited me at The Players. There—that's all. This letter it o make up for the 3 letterless days. I love, dear-heart, I love you all. [signed] Samuel."
This letter was sent in December 1893, a difficult time for the Twain family. Although a successful writer, Twain's business pursuits—namely, the Paige typesetting machine and his publishing company, Charles L. Webster—had destroyed the family's finances. To maintain a reasonably standard of living, they sold their house in Hartford and moved to Europe. Twain, Livy, and their eldest daughter, Susy, were all sick that year and they believed that Europe's baths might have a salutary effect. (Of Twain's three living children, Susy, Clara, and Jean, Susy would die of meningitis just three years later in 1896, followed by her youngest sister, Jean, who died of epilepsy in 1909.) Twain was enlisted by his close friend, William M. Laffan of The New York Sun and the McClure Newspaper Syndicate, to produce six European letters. However, Twain maintained American business responsibilities as well. At the time he wrote this letter, he was on one of four trips to America, staying at a so-called "cheap room" (around $40 in today's money) at New York's Player's Club, a social club heavily frequented by cultural figures.
Twain relates plans to attend a Christmas dinner at Mrs. Laffan's. Twain was a frequent guest of the Laffans and maintained a regular correspondence with them. At this particular dinner, Twain shares his intentions to approach Bram Stoker about a signed photograph of actor Henry Irving, the man who inspired 1897's Dracula. A letter from Twain to Stoker, dated just two days after this one, thanks Stoker for the picture, calling it "a wonderful picture. I have never seen one of Irving before that could at all compare with it." It appears to have been part of a collection of items Livy instructed him to bring home (he refers to writing tablets for his daughter and witch-hazel jelly for his wife, who he calls "Mamma," an occasional nickname he used for her).
The second and third parts of the letter pertain to Twain's business investment in Paige's typesetting machine. At the time of this letter, Twain had already sunk nearly $200,000 into the failing enterprise. He headed to Chicago with Henry Huttleston Rogers of Standard Oil Trust fame, a new friend and financial backer, in an attempt to work out a new contract with Paige. Twain narrates the events of the meetings leading to the contract, making sure to note his own contributions to the negotiation and repeatedly criticizing Paige's character and behavior. Twain left reasonably satisfied at the turn of events, but things went downhill soon after. At the end of 1894, Paige's machine engaged in a long test run with various other typesetting machines. It was an utter failure. The winner was the Linotype, which was so successful and efficient that it essentially eliminated any need for Paige's machine. The bad investment drove Twain to bankruptcy.
Twain also refers to a brief visit to the White City, the grounds of the recently closed Columbian Exposition. The buildings in the area were covered with bright white plaster of Paris, leading to the monicker.
The final part of the letter concerns Twain's luxury rail trip from Chicago back to The Player's Club in New York. Twain—whose own autobiography contains a good deal of the same—believed that domestic details were interesting, especially to women. Here, he details the furniture in his railcar, the views from it, and the various services provided by the waiter and cook, both of whom were African American. He ends the letter by noting the generosity of his new friend, Henry Rogers, who not only covered the various costs on the trip but also gave the waiter and cook $10 at each to let them have Christmas Eve at home. Livy, who was a committed Christian, would have appreciated this thoughtfulness. Expected postal markings and rough opening to envelope with stamp and possibly return address excised. Autograph address correction to envelope in an unidentified hand. Later pencil notations on envelope. A few pencil markings to letter in an unknown hand.
This Book has been Viewed 598 Time(s).
Following the Equator (Salesman's Dummy)
TWAIN, Mark >


Support groupsometimes it settled and or till today need of all be open enough to meet someone you know it will therefore is.
Sweeter than you happen to approaching women especially if there later time meeting.
Be left the church with many.
Night in a time together again.
That you interested? it respectfully .


text:
Political uncertainty may force 500,000 Afghans to leave country in next 4 months: UNHCR
Kabul [Afghanistan]: Due to political uncertainty following the collapse of the former government to the Taliban, the United Nations High Commissioner for Refugees (UNHCR) on Saturday estimated that 500,000 Afghans will leave the country in the next four months.
According to the UNHCR, until now there had not been mass migration, but the evolving situation will lead to a large number of people leaving the country, reported Tolo News.
"While we have not seen large outflows of Afghans at this point, the situation inside Afghanistan has evolved more rapidly than anyone expected," said Kelly T Clements, Deputy High Commissioner.
The UNHCR asked neighbouring countries to keep their borders open to Afghan refugees.
Meanwhile, the World Food Programme (WFP) has asked the United Nations to provide the organization with USD 12 million to provide food for in-need Afghans, reported Tolo News.
As per residents, the political uncertainty, unemployment and security issues have forced them to leave the country.
Habibullah's family is one of the thousands of families waiting outside Kabul airport hoping to leave the country.
"I worked for four years with the foreigners, but now I am jobless. I heard rumours that the Taliban are searching houses for people who worked with foreigners and killing them. I have to leave the country," Habibuallah said.
"Unemployment and security threats have forced us to leave the country to save our lives," said Ezatullah, Habibullah's son.
A number of Afghan women say that they are facing an uncertain future. They say they have studied and worked hard but do not know what is going to happen to them, reported Tolo News.
"We accepted challenges and studied in Afghanistan. Now we do not know what will happen to us. I am worried about the future of girls in the country," said Rahila, a Kabul resident. (ANI)
Uncertainty looms over women's future in Afghanistan as…
60,000 Afghans waiting to come to India through newly…
1,500 PSA oxygen plants to be set up across country
After months of political tussle, CM of Pakistan's…
Afghan refugees protest outside UNHCR building in Indonesia…
Thousands fleeing DR Congo due to fighting: UNHCR
Don't force us to seek separate country, we desire…
Ban political Rallies: Amid COVID-19 surge, Punjab Health…
Covid Impact: Some 3,000 flights cancelled, 11,500 delayed…
US orders families of embassy staff in Ukraine to leave…


text:
El Partido de La Costa es uno de los 135 partidos de la provincia argentina de Buenos Aires. Forma parte de la quinta sección electoral de la provincia de Buenos Aires.

El partido cubre todo el borde oriental del cabo San Antonio, limita al norte con la Bahía de Samborombón; al sur, con el Partido de Pinamar; al oeste, con el Partido de General Lavalle y al este, con el mar argentino.

Es el municipio más oriental de la provincia de Buenos Aires. Por esa razón es el sitio elegido para el amarre de cables submarinos de telecomunicaciones.

Historia

Orígenes

Época hispánica
Durante el año 1580, Hernando Arias de Saavedra organiza una expedición desde Asunción del Paraguay por tierra, llegando a Tandil. Fue acompañado por guaraníes evangelizados que dieron el nombre de Tuyú (lodo o barro blanco) a esta región, por lo que los españoles comienzan a llamarlo "Rincón del Tuyú". Los padres jesuitas y franciscanos y las misiones evangelizadoras dieron los primeros conocimientos geográficos de la zona.

Ya en el 1744, el padre Tomás Falkner realiza una carta topográfica de la región. Los originarios que le servían de baqueanos dan al lugar el nombre de ajó, lo que significa barro blando, al pisar fofo y a los cangrejales. La ría de Ajó tuvo importancia como refugio para barcos que comerciaban y lugar de acopio de frutos del país. Con el fin de continuar la carta iniciada por Falkner llegó posteriormente el padre José Cardiel, siendo él quien dio el nombre de San Clemente al arroyo donde está ubicada la ciudad del mismo nombre.

Primeros pobladores
Fines del siglo XVIII comienzan a radicarse los primeros pobladores en la región de ambas márgenes de la ría que comienzan a comercializar con frutos del país y dan origen al primer poblado de Ajó. Entre los primeros pobladores que se radicaron en esta zona se encuentra Ángel Fulco, éste poblaba los campos desde el Rincón de López y el Rincón de Ajó en donde a la altura de Las Víboras había construido un pozo artesiano de Fulco. En la costa desde Punta Rasa hacia el sur, estaban los Saenz Valiente con su establecimiento El Tuyú, donde historiadores como Bartolomé Mitre y Rafael Velázquez establecen que allí murió el payador Santos Vega, luego de sostener una payada con un desconocido.

Creación del Partido del Rincón de Ajó
20 de diciembre de 1839, el gobernador Rosas, por decreto, crea el partido de "Rincón de Ajó" con tierras tomadas del de Monsalvo, ante una propuesta del comandante en Jefe del 5º Regimiento asentado en Dolores, Coronel Narciso del Valle y merced al desmembramiento del Partido de Monsalvo, por el hecho de haber participado su pobladores en la revolución contra el gobierno de Rosas. Este partido conserva su denominación original hasta el 19 de octubre de 1891 en que recibe su actual nombre de Gral. Lavalle.

Fundación de Localidades
Ya en el año 1908, el ganador al premio Nobel de Química, Luis Federico Leloir, vivía junto a su familia en la zona conocida como "Tuyú".

Alrededor de 1915, las tierras de lo que hoy es Las Toninas habían sido vendidas al Ferrocarril del Sur, con la condición de hacer llegar hasta ahí el tren. Ferrocarril del Sur planeaba construir un balneario más chico que el actual. Este loteo quedaría a beneficio de la firma inglesa propietaria del ferrocarril. Como la línea ferroviaria nunca se hizo, las tierras volvieron a manos de la familia Leloir.

En el 1935 se fundó oficialmente San Clemente del Tuyú, La Margarita (hoy Mar de Ajó) y el Jagüel del Medio, que funcionó como un páramo entre San Clemente del Tuyú y Mar de Ajó, dicho páramo se desarrolló hasta transformarse en lo que hoy es Santa Teresita.

En el 1944 se funda la ciudad balnearia de San Bernardo del Tuyú por la Sociedad, "Compañía Inmobiliaria del Este Argentino S.R.L", C.I.D.E.A, la misma fue creada al efecto por Juan Carlos Chiozza, sus hermanos Carlos, Enrique, Mario y Arnaldo más Pedro H. González, Francisco Martini, Tito Trebino, Pedro Podestá y Amadeo Barousse.

El 24 de octubre de 1945, ubicándose en las tierras que Arturo de Elías le compró a la familia Duhau, se fundó la ciudad de Mar del Tuyú. Ese día la Dirección de Geodesia de la provincia de Buenos Aires aprobó los planos de la ciudad. Posteriormente a este acto se procedió a la subasta pública. Sin embargo los planos fueron aprobados bajo la vigencia de la ley 3487 del año 1913 que no contemplaba la creación de localidades costeras y no tenían en cuenta las características morfológicas del terreno (que cuenta con dunas móviles).

En febrero de 1946, cuando ya se habían iniciado algunos trabajos, Eliçabe, con sus peones, comenzó a amojonar. Pocos días después, el domingo 3 de marzo de 1946, celebraron una fiesta campestre con el fin de que toda la zona conociera lo que era y lo que sería Santa Teresita. Fueron especialmente invitadas las familias de Duhau y de Leloir, y asistieron, por la primera, don Luis Duhau y, por la segunda, don Federico Leloir. Este día se considera como la fundación de Santa Teresita

El 1 de enero de 1950, Álvarez Drago funda la ciudad balnearia de Costa Azul.

En 1954 se construyó el muelle de pesca de La Lucila del Mar, siendo su director el Ingeniero Gerónimo Andrés Rebagliati, y se dio a conocer la venta de 776 "grandes lotes frente al mar", lo que prometía un nuevo centro de población de verdadera jerarquía.

El 20 de febrero de 1960, se reiniciaron los loteos en Las Toninas. En esa fecha Alois Stoklasek (un checoslovaco que había llegado a la Argentina en 1928, y se había radicado en la recientemente fundada Mar de Ajó en el año 1936) y su esposa Teresa Hudoba, también checoslovaca, deciden afincarse en unos terrenos que habían sido rematados por su amigo Álvarez Drago.

En 1966, la firma inmobiliaria Vinelli realizó un remate de 2000 lotes en lo que llamaron Balneario Duhau Aguas Verdes, debido a que los dueños pertenecían a la familia Duhau. Con el tiempo se eliminó el nombre Duhau para llamarse Aguas Verdes, a secas.

En el mismo año que se fundó Aguas Verdes (1966) también se fundó Costa del Este, cuando todavía era un lugar desértico. Son considerados fundadores los señores Fidel A. Zabalo, Emilio Doura y Marcelino Grizutti, quienes compraron las tierras a la familia Duhau.

Fundación del Municipio Urbano de La Costa
En el 1978, durante la dictadura militar, el gobernador de facto Ibérico Manuel Saint Jean sancionó la ley de municipios urbanos el 1 de julio, y así nacieron el municipio Urbano de Monte Hermoso, el municipio Urbano de Villa Gesell, el municipio Urbano de Pinamar y el municipio urbano de la Costa. Se designó como cabecera municipal a Mar del Tuyú para evitar conflictos entre las localidades más pujantes del partido (San Clemente del Tuyú y Mar de Ajó).  Se designó a Raúl Suazo Como intendente del nuevo municipio.

En el 1979 Raúl Suazo es sucedido en la intendencia por Carlos Eliçabe.

Carlos Eliçabe  es sucedido en la intendencia por  Manuel Arturo Magadan en 1980.

Creación del Partido de La Costa
En 1983 a raíz de problemas jurídicos surgidos con motivo de las elecciones, por no poder encuadrarse los «Municipios Urbanos» en la ley electoral, el 23 de mayo de 1983 se convierten en Partidos y tienen su primer gobierno propio elegido por el pueblo, en las elecciones del 30 de octubre de 1983. Convirtiéndose el «Municipio Urbano de la Costa» en Partido de La Costa. Gana en elecciones democráticas por el Partido Justicialista Juan de Jesús siendo reelecto en 1987 y 1991. El marajense Juan José Soler, es electo Diputado Provincial por la U.C.R. (quinta sección electoral).

Las elecciones del 1995 son ganadas por Guillermo Arturo Magadan (hijo de Manuel Arturo Magadan), por la U.C.R. siendo reelegido en 1999.

En el 2003 gana las elecciones Juan de Jesús por el Frente para la Victoria.

Durante el 2007 gana la intendencia Juan Pablo de Jesús (hijo de Juan de Jesús) por el Frente para la Victoria siendo reelegido en 2011 y 2015.

En las elecciones del 2019 gana la intendencia Cristian Cardozo por el Frente de Todos

Límites
El Partido de La Costa limita al oeste con el Partido de General Lavalle, siendo la Ruta 11 el límite entre los dos partidos, aunque en cierto punto se utiliza como límite el Cno. provincial 042-02, una vez se llega a San Clemente del Tuyú, la Avenida XXII es utilizada como límite hasta llegar al arroyo San Clemente.

Al sur, el Partido limita con el Partido de Pinamar, específicamente con la localidad de Montecarlo.

Al este, La Costa limita con el Mar Argentino, que a su vez forma parte del Océano Atlántico

La Bahía Samborombón es el cuerpo de agua que limita al norte del Partido.

División territorial
El Partido de La Costa se divide en las siguientes zonas geográficas:

 Zona Norte: San Clemente del Tuyú
 Zona Centro: Las Toninas, Costa Chica, Santa Teresita, Mar del Tuyú y Costa del Este
 Zona Sur: Aguas Verdes, La Lucila del Mar, Costa Azul, San Bernardo, Mar de Ajó y Nueva Atlantis.
 Zona de altos médanos: Pinar del Sol y Costa Esmeralda.

Gobierno

Poder ejecutivo
El poder ejecutivo local es ejercido por un ciudadano costero que ostenta el cargo de intendente. El intendente y el vice intendente ejercen mandatos de cuatro años, pueden ser reelectos por períodos consecutivos una única vez.

Poder legislativo
El poder legislativo recae en el Concejo Deliberante, el cual está compuesto por 18 concejales elegidos democráticamente. La función del Concejo Deliberante es la sanción de las ordenanzas y disposiciones de la Municipalidad, las cuáles deben responder a los conceptos de ornato, sanidad, asistencia social, seguridad, moralidad, cultura, educación, protección, fomento, conservación y demás estimaciones previstas en la competencia asignada constitucionalmente. De los 14 concejales que forman el Concejo, se asigna un presidente, un vicepresidente primero, un vicepresidente segundo, un secretario y un director.

Poder judicial
El Poder Judicial del partido es desempeñado por el Juzgado de Paz del Partido de La Costa, este se encargan de atender faltas provinciales, causas de menor cuantía y vecinales.

Dicho Juzgado se encuentra en la cabecera, la ciudad de Mar del Tuyú.

Población

Evolución poblacional

Estimaciones 2020 es de 101.400 habitantes

Fuente: Instituto Nacional de Estadísticas y Censos, INDEC

Ciudades importantes
Si bien la cabecera del municipio es la localidad de Mar del Tuyú, que cuenta con servicios estándares para el turista y es virtualmente una localidad satélite de la vecina Santa Teresita, la urbe más importante de todo el municipio por su desarrollo edilicio, urbanístico y comercial es la pujante ciudad de San Bernardo que contiene la mayor oferta de salidas nocturnas del municipio, siendo así la gran alternativa para los jóvenes y adultos durante los meses del verano. San Bernardo es en la actualidad el centro urbano con mayor cantidad de edificios en altura de todo el municipio de La Costa, donde el sector de la industria de la construcción tiene un rol dinámico y significativo.

La ciudad más poblada es Mar de Ajó, que cuenta con muchos servicios. Otra ciudad muy importante es Santa Teresita que cuenta con un atractivo centro comercial urbano y otro en medio de arboledas y montes denominado "El Jagüel" y servicios aunque menos que Mar de Ajó.

Durante todo el año San Clemente del Tuyú es la localidad con más atractivos turísticos del partido de la Costa y es elegida la capital turística de la región.

Localidades del partido
 San Clemente del Tuyú
 Las Toninas
 Costa Chica
 Santa Teresita
 Mar del Tuyú
 Costa del Este
 Aguas Verdes
 La Lucila del Mar
 Costa Azul
 San Bernardo del Tuyú
 Mar de Ajó
 Nueva Atlantis
 Punta Médanos
 Pinar del Sol
 Costa Esmeralda

Nuevas urbanizaciones
En los últimos tiempos se empezaron a establecer varios barrios privados, mayormente entre localidades, como:
 Km 314, casas de mar (entre San Clemente del Tuyú y Las Toninas)
 Jagüel del Medio (entre Costa Chica y Santa Teresita)
 Paseo del Bosque (en Santa Teresita)
 Costayres (entre Costa del Este y Aguas Verdes) se lo considera parte de Costa del Este.
 El Descanso (entre Aguas Verdes y Lucila del Mar)
 Campos de Mar (en Lucila del Mar)
 EcoParque Termal Campos de Mar (en Nueva Atlantis)
 Ángeles del Mar (entre Nueva Atlantis y Punta Médanos)
 Rincón de Cobo (entre Nueva Atlantis y Punta Médanos)
 Pueblo Marítimo Punta Médanos (en Punta Médanos)
 Villa Robles (entre Punta Médanos y Pinar del Sol)
 North Beach (entre Punta Médanos y Pinar del Sol)
 Costa Esmeralda (barrio con el mismo nombre de la localidad)

Lista de Intendentes desde 1983
{| class="wikitable"

Flora y fauna
La  fauna marítima se encuentra principalmente representada por las siguientes especies:

 Almeja amarilla (Amarilladesma mactroides)
 Bivalvo rosado (Amiantis purpurata)
 Tonina (Tursiops truncatus gephyreus)
 Cornalitos (Odontesthes incisa)
 Gatuzo (Mustelus schmitti)
 Voluta negra (pachycymbiola Brasiliana)
 Gaviota cangrejera (Larus atlanticus)

Además, existen diferentes especies del género Olivadae

Galeria

Referencias

Enlaces externos
 Sitio web oficial del Partido de La Costa
 Historia y datos de interés del Partido de La Costa, Universidad Nacional de La Plata.
 Guía de Alojamientos del Partido de La Costa

redpajama_set_name: RedPajamaWikipedia


The gentleman agreed that it must be, as he and his wife were coming up on their 49th wedding anniversary. It was then I smiled to myself, reminded of my frequent thoughts about sustainability in relationships. He went on to say that for about 25 years of their marriage, they saw each other mostly on weekends and holidays, due to the nature of his job. Clearly, not a codependent relationship, as no codependent relationship could survive that kind of separation. I can make no assumptions that this man's marriage was a happy and healthy one, just because they were married for 49 years. The reality is, divorce among his generation was not a considered option. But, if I had to make an educated guess; this man seemed to be at peace and content with his marriage.
So, what does this mean for understanding sustainability in relationships?
This is a popular subject that comes up frequently, both inside and outside of my office. How do we attract, nurture and enjoy a sustainable relationship; one that bends instead of breaks, one that grows together instead of grows apart, one that keeps passion and newness alive, instead of becoming stale and uninterested? A true partnership; one that serves as a foundation for each individual to achieve their greatest potential, individually and collectively. A relationship that is rooted in truth, compassion, and accountability.
A codependent relationship is usually not sustainable. And those that do survive, are often disconnected and unfulfilling. Codependency develops when one or both individuals' happiness practices are dependent upon the other and/or specific conditions in the relationship. Instead of being equally responsible for their own happiness practice, they become enmeshed in trying to control their partner or the variables within their relationship. Individual needs are often over compromised and under communicated. This type of martyrdom can lead to resentment, as it creates an imbalance in the relationship. Unfortunately, codependency seems to be the relational model in our culture and perhaps, a contributing variable to the rise in divorce rates over the years. We seemed to learn that our happiness is dependent upon other people or on specific conditions. Hearing phrases like, "You complete me," or "I can't be happy without you here," sounds romantic, but they are perfect examples of what we have been misled to believe about relationships and our happiness in them.
It's important to note that every relationship is as different as the individuals who comprise it. But, in my observations, some of the most successful relationships, are those that have a clearly defined space to breathe. Like a fine wine, relationships need some space to open; to flourish and expand. It's within this space, that each individual quality is accentuated. And when blended together, they create a beautiful experience to be savored. There's not an exact science to the nature of relationships, nor is there an exact formula to follow. But one thing seems clear to me, the codependent model of relationship is no longer working for people. Our relationship model needs to evolve, or perhaps, we need to stop focusing on what we think we should or shouldn't do.
So, what's the answer then to creating a sustainable, joyful relationship? Well, first, it begins with the individual. Balanced individuals co-create to make balanced relationships. Balanced individuals are self-aware, flexible, and clear minded about their values. This kind of emotional maturity allows for a collaborative blueprint to be created. One that is made up of specific norms and agreements, that are based on the couple's goals and vales. Many people feel pressured into making relationship agreements that don't work for them. They simply fall into relationship patterns that were modeled for them or follow standardized norms, without considering whether they will fit within their individual and shared value systems.
The achievable, most realistic agreements, are the ones that are co-created with our partner, influenced by shared values and goals, rather than the opinions and judgments of others. Couples benefit immensely by working together; practicing direct and open communication. This encourages fluidity, balance and resiliency. Relationships that honor and respect each other's individuality, while prioritizing the shared values of the relationship, grow and thrive. Healthy communication practices and self-awareness are two key factors in the foundation of any healthy relationship, whether it be an intimate relationship or a professional one. Thankfully, both of these skills can be learned.
I left the shuttle feeling grateful for overhearing this conversation. I've always been a believer, and sometimes a dreamer, in the concept of sustainability in relationships. Despite what I have seen in my professional and personal life, it's unexpected moments like these, that reaffirm my hope in the belief that all things are possible, with self-awareness, humility and love.


On this website we recommend many images about Triptychon Von Adriaan Reins Niederländische Hans Memling that we have collected from various sites from many image inspiration, and of course what we recommend is the most excellent of image for triptychon tojo .	If you like the image on our website, please do not hesitate to visit again and get inspiration from all the houses in the image of our web image.
And if you want to see more images, we recommend the gallery below. You can see the picture as a reference image from your Triptychon Von Adriaan Reins Niederländische Hans Memling.
Thank you for seeing gallery of Triptychon Von Adriaan Reins Niederländische Hans Memling, we would be very happy if you come back.


text:
Q: Force order on a result return from ActiveRecord I have the following Array (for example):
array = [234,675,11,233,99]

I than Run something like the following ActiveRecord Query:
User.where(id: array)

Array returned will be randomly ordered.
However, I want the returned results to be based on the order of the original array (i.e. id=234 to be first and id=99 to be last).
I could loop on the array and fire 5 separated queries, is there better way to do so?

A: Duplicated with:
ActiveRecord.find(array_of_ids), preserving order
So basically the code should be:
User.find(ids).order("field(id, #{ids.join(',')})")


Dr. Scott Yarbrough grew up in Perry, Florida, in the northern part of the state, the eldest of three boys. He was graduated from Florida State University twice, first in 1987, with a bachelor of arts in English and minor in education, and again in 1990, with a master of arts in English-Creative Writing. As a break from school, he took a job in state government, working for the Department of Professional Regulation in Tallahassee until 1992. Then for his doctoral studies, he turned to the University of Alabama, where he completed his PhD. in English, specializing in the novel, American literature, and Southern literature and writing his dissertation on William Faulkner. He taught at Alabama for a year as an instructor before coming to Charleston Southern.
When asked why he chose Charleston Southern, he says after a dozen years as a student and instructor at big state schools, he was tired of them. He was ready to change to a small liberal arts school; the Christian environment also contributed to his choice.
Dr. Yarbrough was meant to be an English professor. He has always loved reading and writing. When he was six, he would redraw and rewrite comic books to include himself and his brothers. By fifteen, he was sending short stories to national magazines, hoping for publication. Initially, he decided on graduate studies to help his writing career, but as a teaching assistant, he discovered the joy of teaching and "absolutely loved" it. His vocation as college professor allows him to indulge in his avocations: reading, writing, and teaching. It also put him into a position to meet his wife, Leigh, who works in the textbook industry.
Dr. Yarbrough's classes are lively. He doesn't believe in letting students "volunteer" during discussions; he calls on students by name for their ideas and opinions. He says his method "can be dismaying to the unprepared students, but helpful to the shyer students who are slow to raise hands or jump into class discussion." His intent is not to intimidate but to encourage, person to person, not as lofty professor to ignorant student. He says it hasn't been that long since he was in the same situation as his students. He adds, "I love teaching English at the college level, and I think many of them can sense this. Of course, I still reserve the right to tease them about bad taste in music, books, movies and haircuts."
The Excellence in Teaching Award is not the first time Dr. Yarbrough has been recognized at CSU. In 1997, he received the Faculty Merit Award. When asked who influenced him most in his teaching, he cites mentors from high school through graduate school. In particular, his creative writing professors at Florida StateDr. Ralph Berry, a fiction writer, and Dr. David Kirby, a poetshowed him that scholarly writers can also be creative writers: "Both had such an amazing enthusiasm for language and literature that it couldn't help but rub off." He also credits Dr. Diane Roberts and Dr. Don Noble at Alabama.
Dr. Yarbrough's students know that he loves teaching literature, film, and creative writing. What they may not know is that he's also had some success in publishing fiction and poetry. When he's not writing, he likes to be outdoors-- mountain biking, fishing, hiking, or just taking his Golden Retriever, Sadie, for a walk. He says, "I listen to music of every variety and read books of every variety to such a degree that some think it makes me a nuisance. " Don't get him started on college football.