The NSA 4500 is a UTM firewall for mid-size organizations and distributed environments requiring high performance. It combines multi-core hardware with SonicWALL's Reassembly-Free Deep Packet Inspection™ engine. NSA 4500 Features. The NSA 4500 appliance offers an extensive array of advanced security and networking features in an accessible and affordable platform that is easy to deploy and manage in a wide variety of environments. -Unified Threat Management. -Application Intelligence. -Gateway Anti-Malware. -Intrusion prevention. -Virtual Private Networking. -High performance. -Deep Packet Inspection firewall. -Deep Packet Inspection for SSL Encrypted Traffic (DPI-SSL). -SSL VPN remote access. -Secure wireless controller. -Powerful reporting. -Intuitive management. -Business continuity. -Centralized Policy Management -Gateway Security Services. -Application Intelligence, Control and Visualization. -Content filtering.
The original plan was to build a new image for the NSA 4600 that is to replace an existing NSA 4500.
The wireless PSK shows as plain text on our TZ210w running 5.8.x for both the internal wireless and SonicPoints.
I have a SonicWall 4500 at our main branch and we have a block of IPs from our ISP. The block ranges from 151-158.
Hope you can help or give advice.
Replace antiquated AT&T Centrix PBX system with modern VOIP server and implement SIP trunking.
Hybrid Exchange Configuration between Exchange 2010 SP3 with DirSync, ADFS and SSO.
Redesigned network infrastructure implementing VLANs and installed new switches and a new firewall.
Migrate all Physical Web Servers to virtual Servers. Changing from Fedora to Ubuntu.


Arizona Real Estate News Access: Phoenix homes prices climbed 130 percent in 10 years. What's next?
Phoenix homes prices climbed 130 percent in 10 years. What's next?
Home prices hit a new record in metro Phoenix last year, and so did incomes in the Valley.


I ran into my old buddy Mick Kipp yesterday.
Back in the early 1990s, Mick was the bar manager of the Wild Mushroom, a funky restaurant in the Canton neighborhood of Baltimore - and that's before Canton was hip. Wild Mushroom had surprisingly good food - not bar fare - much of it fungi-based and very creative.
But it was the beer which brought me there, and often. Mick had made it a Belgian beer lover's heaven, before that was common in our area.
Specialty Condiments and Assorted Potables!
The last time I was at the Wild Mushroom was in early 1999, shortly after returning to the area from my aborted brewing venture in Cleveland, Ohio. Mick was no longer bar manager and the beer selection was not as top-notch as it had once been. But the occasion that night was a pint night (buy the beer, keep the glass) for Victory's Storm King, a strong stout which has to be one of my favorite US beers.
It was on that evening that I first met Baltimore beer demiurge Jim McGinty.
Jim began his beer career managing a Hard Times Cafe in northern Virginia. Later, when Old Dominion Brewing Company created a distribution arm in Maryland, Jim moved his family to the Baltimore area to operate it. The wholesaler carried several craft beers from the East Coast in addition to Dominion's beers. Jim became known as the go-to guy for good local beer,and always good for a pint and conversation.
Of course, with the sale of Dominion, its distribution company has been shut down.
Word has it that Jim has been shopping around to either open a Baltimore area beer bar with Ken Krucenski (past proprietor of Sean Bolan's in the Federal Hill area of Baltimore, Maryland) or to run the statewide beer operations for a Maryland distributor.
Either way, it's good news for Jim and good news for us in the beer world.
The Wild Mushroom is no more; a different restaurant is now in its old place on S. Montford Avenue.
Jim McGinty has accepted the position of Maryland Beer Manager at the National Distributing Company.


Wool is nature's miracle fabric, and hikers have long preferred wool hiking socks. Smartwool socks are one step better because they are itch-free, machine-washable and won't shrink in the washer or dryer. They are great socks for winter walking, and many people like to wear them all year-round.
Shrink-free. You can wash and dry them in your washing machine and dryer.
Crew sock length with medium padding for hiking shoes or boots.
Thin, flat instep for more breathability, keeping your feet cooler and drier.
Elastic in the arch helps support the arch and provide a snug fit so the sock doesn't bunch up.
They have flat-knit toe seams for comfort with less chance of rubbing and causing blisters.
Higher density yarn is used in the areas that wear more, the metatarsal area and the heel, so the socks will be more durable.
Some people will still be sensitive to wool and will still feel a little itchy wearing even itch-less wool socks.
Smartwool promises a better wool sock. Wool can keep you warm in the winter but yet works well to manage temperature and moisture in summer. Hikers have long preferred a wool hiking sock but often used a polypropylene liner sock.
You don't need the liner sock with Smartwool socks if you are using it to prevent the itchy feeling wool gives many people. The fibers of Smartwool don't have the barbs found on untreated wool. However, I must confess that I did feel some itchiness after several hours (I am especially sensitive to wool). However, any slight sensation I felt was far less than the instant "get these off my feet" I feel with regular wool socks.
Smartwool light hiker socks are made with a blend of 73% Merino wool, 26% Nylon and 1% elastane. The socks are made in the USA of imported yarns. The construction includes compression and flex zones so the socks hold its shape and support your foot throughout a walking step.
While traditional wool socks must be hand washed, you can wash Smartwool socks in the washing machine and dry them in the dryer and they will maintain their shape and won't shrink. The laundry instructions are to machine wash with warm water, use the gentle cycle, and do not use bleach. Tumble dry on low temperature in your clothes dryer. Do not dry clean.
Meanwhile, our gear advisor Richard Bumgardner loves these socks. These light hikers are designed for wearing with hiking shoes or boots. They provide superior natural moisture control and temperature control.
A wool blend sock can help prevent blisters, especially when compared to a cotton sock. Wool and nylon absorb and transport foot sweat and moisture so it evaporates rather than remaining on the foot and softening the skin. Hot, wet skin is more likely to form blisters with friction.
The anatomic construction of the sock also helps prevent excess bunching and friction that can occur with tube socks. The flat seam construction at the toe also helps relieve a common area of rubbing and friction.
These socks may be thicker than your usual socks. Be sure to try on socks with the shoes or boots you will be wearing to ensure they are the right thickness.
If you have diabetes, these socks may also be beneficial in helping to prevent blisters. You can discuss this with your doctor, physician's assistant, nurse practitioner, or diabetes educator to ensure these socks have the features that are what she would recommend for you and your medical condition.
Smartwool light hiker socks come in both men's and women's designs, as there are gender-based differences in foot shape. The crew length works well with boots and for winter wear.


text:
SLate: K-State places 3 on All-Big 12 teams.
K-State WBB places 3 players on the All-Big 12 teams, plus a quick look back a K-State's pro-day, and trying to decipher the Big 12 conference tournament seeding.
By KSUEMAW!@KStated2010 Mar 7, 2019, 12:35pm CST
Share All sharing options for: SLate: K-State places 3 on All-Big 12 teams.
Photos from 3/4/17 Big12 Women's Basketball Tournament: Quarterfinal Round. KState & ISU
PurpleBrunette
It's an afternoon slate, so we'll hop right into the news of the day.
Three Wildcats were named to All-Big 12 teams. Both Kayal Goth and Peyton Williams were named to the All-Big 12 first team, while freshman Chrissy Carr was named to the All-Freshman team. Williams was also named to the All-Defensive team. (Justin Toscano, Manhattan Mercury)
Every seed except those at the very top, and bottom of the Big 12 conference bracket are known. Kansas State, Texas Tech, Oklahoma State, and West Virginia will all have to wait until after Saturday's games to know what seed they will have for the Big 12 conference championship. (Nathan Ruiz, The Oklahoman)
The Cincinnati Bengals were among many NFL teams attending Kansas State's pro-day, and they paid particular attention to both Dalton Risner and Alex Barnes. (Nathan Beighle, Bengals Wire via USA Today)
Duke Shelley impressed many NFL scouts during the Wildcats pro-day, as he had as many as 14 NFL scouts talking to him after the conclusion of the event. (Kellis Robinett, Wichita Eagle)
Finally, be sure to keep an eye out for Luke Thomson's weekly Tournament Thursday story. Maybe he'll be able to tell us why Joe Lunardi has both Kansas State and Iowa State as a 5 seed.

redpajama_set_name: RedPajamaCommonCrawl


Welcome to The Bridal Guide's Fabulous 50th Edition 2019 Yearbook and NIBridalGuide website!
Congratulations on your engagement! It's time to pop the champagne. Now that you're engaged, embrace, explore and have fun imagining the details: the dress, the colors, the flowers, the "I dos!" Wedding planning is a great way to unite family and friends, so remember to savor and share the excitement with those you love.
Brides you can accomplish every last detail and still be radiant and lovely on the day of your wedding. The Bridal Guide and website are resources to assist brides and grooms in fulfilling their wedding plans. You can be assured you will receive professional service from the wedding oriented businesses listed in the guide. The articles in the guide and on the website will serve as educational tools and give direction in specific categories when planning your wedding.
The next few months will be filled with dreaming of the life you will have with the person you love. Enjoy your engagement party, bridal showers, selecting bridal attire, gift registration, bridesmaid's luncheon, and all the other exciting plans.
The Bridal Guide is a premier bridal publication distributed in Northern Illinois and with over 27 years experience.


The 2019 fixtures are now online – 6th item in the Members drop-down menu on the home page. It should be noted that some dates are still subject to final confirmation.
The next five events also appear in the right-hand sidebar, entitled 'Upcoming Events'. At the bottom left of this list there is the "Add" button which supports export of all events to a variety of personal, external calendars e.g. click on "Add to Google" and it will load your local calendar and provide the option to 'add calendar'. Other options include Timely, Outlook, Apple Calendar, other calendars & XML. It works fine for Google running on a Windows/Android platform – I cannot vouch for anything else.
Let me know if you spot any errors in the event listings.
Hopefully, nobody will notice the difference but, with effect from today (12th Jan 2019) we have implemented HTTPS on the website. The visible effect of this will be to remove the NOT SECURE message from the browser destination address – never reassuring for people expected to pay online, even though the two system are entirely separate.
301 Redirect has also been implemented to ensure that all HTTP requests are forwarded to the HTTPS website in a search engine friendly way. So links with the "old" HTTP address automatically lead to the HTTPS website.
Let me know if you detect any strange behaviour.


text:
TINA BARNEY with Phong Bui
The Art of Institutional Possibility: CAROLINE WOOLARD with Thyrza Nichols Goodeve
BARRY MCGEE with Jason Rosenfeld
LESLEY DILL with Ann McCoy
JED PERL with Jarrett Earnest
PHILIPPE PARRENO with Charles Eppley
Relishing Spoils: MICHAEL RAKOWITZ with David Sprecher
Naeem Mohaiemen: There is No Last Man
THOMAS NOZKOWSKI: 16 x 20
By William Corbett
By Pac Pobric
Josef Albers in Mexico
By Benjamin Clifford
JIMMIE DURHAM: At the Center of the World & LAURA OWENS
MARTHA TUTTLE: I long and seek after
Inside and Outside: Cady Noland and the Violence of the Everyday
Negotiating Gender, Labor, and Authorship: Thinking Machines: Art and Design in the Computer Age, 1959–1989
By Banyi Huang
SERGIO PREGO: Rose-colored Drift/To the Students
MARK DI SUVERO
ALFREDO JAAR : The Garden of Good and Evil
By Elizabeth Fullerton
VINCENT DESIDERIO: Theseus
EVE ACKROYD & KARA ROONEY: Group Motivation
By Kaitlyn A. Kramer
GORDON MATTA-CLARK: Anarchitect
By Kaegan Sparks
Unholding and other exhibitions of Native American art
By Alan Gilbert
Dream of Solentiname
By Madeline Murphy Turner
GEORG BASELITZ: 1977-1992
KÄTHE KOLLWITZ & SUE COE: All Good Art is Political
By Jessica Holmes
The Everywhere Studio
By Steven Pestana
CAROL SZYMANSKI: Pareidolia
By Lynn Maliszewski
RICHARD HAWKINS: Hotel Suicide
CATHERINE MURPHY: Recent Work
HANS HARTUNG: A Constant Storm
NANETTE CARTER: An Act of Balance
JAMES CASTLE: People, Places & Things
To Signify Dreams on the Surface of the Body
By Michela Moscufo
Imperfect Tools for Navigation
By Vijay Masharani
Spieltrieb: Polly Apfelbaum, Beverly Fishman, Ryan Mrozowski, Kathleen Ryan
BLINN & LAMBERT: New Grey Planet
VANESSA GERMAN
An Idea of a Boundary
MICHAEL WELSH: When Wishes Are Horses, Beggars Will Ride
By Allison Grimaldi-Donahue
ALVARO BARRINGTON & DAVID WEISS: A Different World
By Gabriella Nugent
SUSAN WIDES: this:seasons
Fragmenticos: Memories of Colombia.
By Adam Beal
contingency, probability and the void
Guest Critic: Joan Waltemath
in reverse
By AV Ryan
that p may occur or not
By Christine de Lignières
Mess in Time
By David Humphrey
Limited only through whatever is impossible
By Marjorie Welish
By Molly Zuckerman-Hartung
contingency: a montage
By Sissi Tax
LIKE WERE
By Simone Kearney
The Metaphysical Fairyland of Michelle Concepción
By Thyrza Nichols Goodeve
Per Aage Brandt's If I Were a Suicide Bomber
By Tony Leuzzi
Alan Drew's Shadow Man
Daša Drndić's Belladonna
A Voice From the Pit: Brandon Hobson's Where the Dead Sit Talking
By J.C. Hallman
Neon in Daylight: HERMIONE HOBY with David Burr Gerrard
László Krasznahorkai's The World Goes On
Thisbe Nissen's Our Lady of the Prairie
Zachary Lazar's Vengeance
Paul Goldberg's The Château
By David Burr Gerrard
All In Until it Stops: JOE CASEY with Dan Joseph
By Dan Joseph
Alan Bishop, Time Traveler
By Christopher Nelson
On Pointe: Alessandro Cortini, Richard Horowitz, Lapalux
By Mik Pointe
February Listings
SUNSETTING COIL (AND PS122)
"Are You Here for the Performance Piece?"
By Jen George
Pay to play: the costs of carving new space for dance
By Benedict Nguyen
Western Unions: On Valeska Grisebach's Western
By Sarah Mankoff
Vivisection of the Screen: Véréna Paravel and Lucien Castaing-Taylor's somniloquies and Caniba
By Zoe Meng Jiang
YEAR ZERO: 2017 Pingyao Crouching Tiger Hidden Dragon International Film Festival
By Celluloid Liberation Front
Breathing New Light: Reexamining Grove Press's Cinematic Legacy
By Mitch Anzuoni
The Hero with a Thousand Faces: Rick Prelinger's Lost Landscapes of New York
By Shelby Shaw
Sound Explorers: Sound House and This is the Color Described by the Time
By Andi Stover
DAEL ORLANDERSMITH and MASHUQ MUSHTAQ DEEN with Diana Oh
By Cyril Wong
Chapters 5 & 6 from The Solitary Twin
By Harry Mathews
inSerial: part fifteen Delusions of Being Observed
By Lewis Warsh
Highlights from the Life of Raymond Roussel #1: a thousand flaming pen-nibs
New Routes in Fiction: Julie Lekstrom Himes with Alec Niedenthal
Uncle Ho's Poetry
By Richard Tuttle
from DIGIGRAMS
By Barbara Henning
from S + COP – E = Computational Topographical Fur
By Brenda Iijima
from Vestigial
By Aja Couchois Duncan
By Michael Farrell
By Kimberly Lyons
By Robert Hershon
By Celina Su
Brenda Iijima with Aja Couchois Duncan
Alexander Calder: To do the Circus
Basel Abbas and Ruanne Abou-Rahme's And Yet My Mask Is Powerful
Hito Steyerl's Duty Free Art
By Chloe Wyma
Rediscovering an American Community of Color: The Photographs of William Bullard, 1897-1917
By Andrew Holter
Lee Lozano Private Books 1-3
By Madeline Weisburg
Guy Goodwin
Lydia Dona
Odili Donald Odita
Richard Shiff
STANLEY WHITNEY with Phong Bui
Phong Bui
Fantasies of Secession: A Critique of Left Economic Nationalism
Inside the "Muslim Factory": NEDJIB SIDI MOUSSA with Felix Baum
By Felix Baum
Letter From Huntsville: "Look Out For One Another"
By Curtis Price
The "Soares Doctrine," or Who Gave Birth to Democracy in Portugal?
By Raquel Varela
Climate change: What is to be done? Part 3 – Conclusion
By José A. Tapia
FEB 2018 Issue
with Phong Bui
Portrait of Tina Barney, pencil on paper by Phong Bui. Based on a photo by Zack Garlitos.
Although I've followed Tina Barney ever since I first saw an exhibition of her work in New York in 1990, and having met in passing at several social gatherings in Chelsea and elsewhere, it wasn't until recently Tina paid a visit to the Rail HQ for lunch and to meet our staff that our acquaintances turned the page. Due to the recent, handsome and comprehensive monograph Tina Barney (Rizzoli, 2017), with an introduction by the artist herself and an afterword by Peter Galassi, along with Tina's current exhibit Landscapes, which includes a group of new and never-before-seen works at Paul Kasmin Gallery (Jan. 17-March 3, 2018), and a small volume of her works on paper (self-published, 2016)—I had not been aware of her practice of making drawings and watercolor paintings related to her photography, which she has been doing since the early 1990s—I visited Tina's apartment in Gramercy Park for a lengthy conversation about life and work, and everything in between.
Tina Barney, Amy, Phil, and Brian, 1980. Chromogenic color print. © Tina Barney. Courtesy Paul Kasmin Gallery.
Phong Bui (Rail): You were exposed to contemporary photography in your early 20s as a volunteer on the Junior Council at the MoMA…
Barney: Which is now called Junior Associates. I knew nothing about photography whatsoever. I had never heard of Ansel Adams, Walker Evans, Irving Penn, Diane Arbus, among others, but that was where and how I became interested in learning about photography. Then by the early '70s, I went regularly to the three existing photography galleries at the time, Light Gallery, Witkin Gallery, and Robert Freidus Gallery. Charles Traub, Victor Schrager, Marvin Heiferman, Janet Borden were all working in those galleries.
Rail: That was how you first met Janet! [Barney's gallerist from 1983 – 2014]
Barney: Yes, while she was working for Robert Freidus.
Rail: And you began collecting photographs on a very small scale.
Barney: Yes, I bought, for example, Imogen Cunningham's Triangles (1928), Edward Weston's Cabbage Leaf (1931), Robert Frank's Butte, Montana (1955), also works by other greats like Lee Friedlander, Garry Winogrand, Walker Evans, etc. This was all when photographs cost $200.
Rail: That was roughly around 1971, '72.
Barney: Right, because I got married and moved with our two young sons, Tim and Phil, to Sun Valley in 1973, and I never thought of myself as a photographer—except for having taken family snapshots on occasions and putting them in albums. That was the extent of it.
Tina Barney, Diane, Mark and Tim, 1982. Chromogenic color print. 48 x 60 inches. Edition of 10. © Tina Barney. Courtesy Paul Kasmin Gallery.
Rail: Was there any other formal education leading to your discovery of photography, I mean before taking workshops with Frederick Sommer, Duane Michals, Nathan Lyons, among others at Sun Valley Center for the Arts from 1976 to '83?
Barney: I went to Briarcliff Junior College for three months but then dropped out. At 19 I lived in Florence, Italy, to study the Italian Renaissance. Next I audited art history classes with Meyer Schapiro at Columbia University, Barbara Rose at the New School of Social Research, which were all interesting and useful. My brother Philip, who began to collect in his early twenties, was instrumental in suggesting shows at galleries like Sidney Janis and André Emmerich, for example. My first photography teacher in Sun Valley was Peter de Lory. I started learning how to print in black and white, and began to take pictures of my family and friends, especially during the summers in Rhode Island, with a Pentax, which is more or less the same subject matter that I'm still interested in today: family tradition, ritual—not so much portraiture—because I wanted the pictures to be about affectionate gestures of the human body, what people wore, how they interact with each other in their domestic surroundings, and so on. Mark Klett became the head of the photo department at the Sun Valley Center for Arts and Humanities. He taught me how to print in color. And he also used a 4×5, so I learned about the importance of using a view camera in the early '80s.
Rail: Such pictures, including Sunday New York Times (1982), and Beverly, Jill, and Polly (1982) are good examples of what you were trying to attain at the time.
Barney: Exactly. Also, a friend encouraged me to enter a juried exhibition at the Boise Art Museum (1982), and Patterson Sims was the judge. He gave me an award for Sunday New York Times and Beverly, Jill and Polly, which was a real encouragement.
Rail: Were you aware of the landmark show Mirrors and Windows: American Photography Since 1960, curated by John Szarkowski in 1978?
Barney: Yes, it was an important show even though my family and I were in Sun Valley. I remember all the photographer friends I knew still talking about the show, even years later. I still have the catalogue.
Rail: It was a survey of recent photography, at least to that point in time of 17 years, for which Szarkowski argued the medium no longer had the need to thrive on the old friction between "straight" or direct photography and "synthetic" or manipulated photography. Instead, he proposed two new formal ploys: one is the "mirror" being a romantic expression of the photographer's sensibility as it is free to project itself onto the objects and sights of the world; the other is the "window" as a framing device through which the exterior world is explored in its full magnitude. To demonstrate these differences, he painted various shades of grey walls for the works that refer to the subjective idea of the "mirror," which includes Bruce Davidson, Danny Lyons, Ernst Hass for example; and the equivalent variant of white walls for the objective "window" that features works by Diane Arbus, Gary Winogrand, Lee Friedlander, William Eggleston, Ed Ruscha, just to name a few.
Barney: What's interesting about what happened in the '70s is so pivotal, so monumental, and you have to go back and wonder, why did this all happen? Some people thought that it had to do with all of a sudden showing work in galleries and that that changed the way people looked at photographs, as opposed to looking at them in a book. Others felt the '70s was a period of freedom and thinking a great deal about your own narrative, the notion of, why did Larry Sultan, Philip-Lorca diCorcia, Sally Mann, myself, and others start photographing our families? And you just don't really know because there's so many different facts that come into why a movement happens. And you as a student, of course, start following your idols. Which I don't think I really did. I somehow was on my own. I got through the clichés pretty quickly, partly because as soon as I moved out west I realized that my life was very different.
Tina Barney, Drive-In, 2017. Chromogenic color print, 20 x 24 inches. Edition of 5. © Tina Barney, Courtesy Paul Kasmin Gallery.
Rail: It's interesting how the theme of nature or landscape has been depicted or represented, first as frescoes on the walls of the cramped, small Roman apartments as early as the first century B.C. to provide a sense of release from the stress of daily life's annoyance. The same can be said of the impressionists who went to the countryside to make landscape paintings. The point is nature has always been depicted by those from the cities, almost rarely by those who are in the countryside. Perhaps it's the opposite in your case: it took you being from home, when you were in Sun Valley, to long for the warmth of people and the social scenes of your East Coast life.
Barney: I never thought of it in that perspective. I was homesick for sure.
Rail: Well the word "homesick" was initially a Swiss dialect, which expressed the deep longing for the mountains.
Barney: I certainly know if I hadn't left home, I would have never understood it in the way that I did. Even though I remained in my own country, home still seemed so far away to me; I might as well have been in another country.
Rail: Was there one first picture that revealed such sentiment?
Tina Barney, The Flag, 1977. © Tina Barney. Image Courtesy of Tina Barney and Paul Kasmin Gallery.
Barney: There's one picture in the book called The Flag (1977), in which three children are pulling down the American flag, and they're dressed in these very East Coast clothes that are very telling of their preppy background. I thought it was a strange ritual of pulling down the flag every evening. That's when I was beginning to feel as if I was on to something, and it was only because I brought those pictures back to Sun Valley, and people that did the workshops thought these were different than everything I did up until then. I was very insecure that people were interested in the fact that they were about the upper class and always was very protective of that environment because they were much more than that to me. They were much more about tradition and ritual, and because of the specific place that I live in, the ability to be able to keep the house so that you could see the history of an entire family existence. That history was precious to my sense of belonging.
Rail: So much was written about your upper class, Anglo-American life, for example, A.M. Homes referred to you as an anthropologist of photography of this specific milieu.
Barney: That's a compliment to me. I love watching Margaret Mead films, reading Claude Lévi Strauss—the idea of following a group of people for thirty, forty years fascinates me.
Rail: Like Michael Apted's Up series!
Barney: Yes, an absolutely wonderful series.
Rail: One of my favorite quotes by Joseph Butler—the 18th century British theologian/philosopher who hated John Locke's theory of personal identity—is, "Everything is what it is and not another thing." The world will collapse if one feels of where he or she belongs to, be it a nation, a race, a class, or even a cult. It's something we can't easily get away from.
Barney: That's one of the reasons why I've always been grouped together with Nan Goldin, Philip-Lorca diCorcia and Larry Sultan. Curators have put us in shows together for all these years, and I don't know what they've taken from it except that we stayed at home, we arranged imagery, some of us used lighting, we're all American, the prints were big, and most of them color. So there were all those things in common. But I think whoever wrote about all those shows, whoever curated all those shows could have done more. I think Pleasures and Terrors of Domestic Comfort, curated by Peter Galassi at the Museum of Modern Art, is one of the most interesting examples, and that's because of his intelligence and understanding.
Tina Barney, Ada's Hammock, 1982. Chromogenic color print. © Tina Barney, Courtesy Paul Kasmin Gallery.
Rail: That was in 1991. An amazing show and an amazing text, and catalogue. The title says it all about suburban life.
Barney: It sure was—how photography has changed so much now, but the subject remains the same, except for new interpretations.
Rail: In your case, as Peter wrote in his afterword, you contributed to important collective trends that shifted the commitment to make larger prints with larger cameras. For the longest time, a handheld camera was the preferred tool because of its maximum ability and speed, also adding color to the prints, and of course the emphasis on personal milieu and domestic life as a subject matter.
Barney: Well, the fact that we used a view camera to be able to see all the details, is what was such a shock. That was revolutionary. I also think that—when you look at any art movements throughout the history of different cultures in any kind of medium, people were always doing similar things at the same time.
Rail: True, like Nan Goldin is working on one thing; Cindy Sherman is working on another thing, yet, they share the similar "pleasures" and "terrors" of domestic comfort. I like what you had said of Cindy being a great actress.
Barney: She is. Few have given her the credit.
Rail: Though whereas in Cindy's pictures, the reference to film noir of the '50s and '60s was pretty evident, not to mention the dramatic play of light and shadow that amplified the sense of suspense and mystery, your work seems to explore the history of painting, as you've frequently talked about, especially with 16th and 17th century Italian and Dutch painting.
Barney: First of all, my family is full of art collectors. I was surrounded by art my whole life. My mother was a model, then became an interior decorator, which added the elements of fashion and design to my sensibility. I should mention my maternal grandfather was an amateur photographer who took pictures of our family at all family related events: birthdays, holidays, weekend visits, etc. He also did all the printing in his own dark room.
Rail: Perhaps your attraction to a similar subject matter may have been initiated on some subconscious level from your grandfather?
Barney: I'm sure. I also think having lived in Florence, Italy (it was very typical, in the '60s, for American girls to go and live with an Italian family to study), was exposed to the wealth of the Renaissance and Italian painting at the Uffizi, and other museums like Palazzo Pitti, and churches, including Santa Maria Novella, San Marco, etc. in Florence. The experience of seeing those great works of art becomes an integral part of your visual memory. Anyone who has seen me work knows that I work very fast, and I never know when an image from my memory is going to reappear and influence the results. As I'm taking a picture, I don't say, "Oh, gee, that looks like a Paolo Uccello."
Tina Barney, The Hands, 2002. Chromogenic color print. 30 x 40 inches. Edition of 5. © Tina Barney, Courtesy Paul Kasmin Gallery.
Rail: Like how you once spoke of Uccello's second panel of the famous diptych The Battle of San Romano (1432), how the broken lances on the ground along with the crossbows were carefully constructed to lead the viewer's eyes to the background. Did you use a similar function for the ropes on the boats to the dock in the picture Boating Nantucket (1979)?
Barney: Yes, it only occurred to me afterward that I found these parallels or similarities. It's just all there, as if you're speaking a language that you know intimately. That's what I compare it to—just like you're speaking—you're not aware of everything you say. Then, when I get the contacts back, that's when I make these discoveries. Well that's having it work as far as the composition. There's that, but then you have to deal with the technical concerns. Is the lighting right? The last icing on the cake is, what is happening to the people?
Rail: The narrative itself.
Barney: The narrative, the communication. What are my prerequisites? What do I really want? How can I get all these elements in one picture, which can take years. Nine sheets of film every two years.
Rail: How many photographs would you normally take per summer, which is the time you prefer to take your pictures?
Barney: I tried since the early '80s to take 300 photographs a summer, which is hard to do. I used the 4×5 with a flash, as if it were a handheld 35mm camera. I started using eleven bags of lighting equipment by the early '90s. And the change was huge—I could get much better resolution. I could get into the back of the rooms better, but in other ways, it slowed me down. It takes an hour to set up, so then I had to really work at getting those candid moments right. It was much more difficult, so there were pluses and minuses.
Rail: How do you go about directing people?
Barney: It depends on the people, and on the situation. I used to just let things happen, asking people to hold still because I didn't have lights. For example, in Sunday New York Times (1982), I'd yell out, "One-one-thousand, two-one-thousand," etc. And so the father at the head of the table looks a bit stiff, but then those who didn't listen to me yelling out—some were out of focus—they went on with their business as usual. So that's luck. And that's also because there's so many people in that picture that you sometimes get some impromptu things happening. As I started being interested in using fewer people in the picture, because I knew that I had done the choreographed tableau to death, I began eliminating people in the late '90s, as you can see in the book. It became more like portraiture, and however difficult and challenging, it still keeps me interested today—one person confronting the camera and what to do with him or her. You asked me about directing. It's such a fine line that most of the time it has to do with the structure of the picture. I can't possibly say I want you to feel this way, I want you to feel that way. So while you're saying, "please move over there," or "hold this or that pose," you then might get something that could be revealing, and that's just chance. I don't direct like a movie director, saying, "I want you to think about when your mother died so you can look sad." It doesn't happen like that.
Rail: I know that you're very resistant in revealing why you do what you do, choosing a certain subject matter rather than another. You wanted to protect a sense of mystery, and the autonomy of the action.
Barney: That's the part that's interesting—it's the phenomenon. Some have asked, "How did you know I was having this fight with my husband?" Well, I didn't. [Laughs.] Sometimes that's the viewers providing their own interpretation. But then you get glances or expressions that transcend everything that is universal. This is when it becomes an interesting portrait, which is a give and take between both the photographer and the subject.
Rail: What about titles, which in some cases, they were simply entitled after the protagonist's real names like Mark, Amy, and Tara (1983), Beverly, Jill, and Polly (1982), or Marina and Peter (1997), for example, whereas in others they were titled after either the objects or the ambience of the space like The Orchids (2003), The Orange Room (1996), The Hands (2002)? How do you mediate between the two tendencies to give titles to different pictures?
Barney: I hate giving titles to each photograph, so I've never really thought about it too hard. I always want it to be something very general, so that I don't narrow the interpretation. And it usually happens after the picture is made. I think this happens to most other artists as well. First of all, to get from the point of taking the pictures to choosing the one I'm going to make five feet, is a very long amount of time. So the last thing I do is choose the title, because it doesn't interest me. But then, through time, they have a certain style to them. I use titles, for example, like The Young Lady and The Little Sister, because they seemed more appropriate for these formal pictures. But yes, in other cases where the ambience of the space is the focal point, for example, a young man standing in front of a yellow wall with an empty frame behind him, The Yellow Wall becomes the title.
Rail: That makes sense. Who among the photographers, when you began showing your work in the mid '80s, whose works you share some pictorial affinities or you simply admire?
Barney: William Eggleston. Of course, Garry Winogrand and Lee Friedlander were really important to me, because what they each did was so new and different: the inclusion of everything in the frame; the looseness. Lee Friedlander, like Stephen Shore, is someone I will never completely understand, and I don't really want to. There's a complexity there that is so interesting and magical. They have an understanding of the way the camera sees that I don't think 99% of the people who look at them do. It's very sophisticated, in the way that minimalism is to me, that I have no words to even explain, it's so complex. And let's say Lee, for instance, is dealing with shapes and forms, which become so much more interesting than the actual subject matter. The fact that they're black and white allows you to focus on the graphics, rather than being distracted by the subject matter. I always tell students to turn the photograph upside down, so you get away from the subject matter and really see the forms. Those are the parts I might learn from looking at any minimalistic work.
Rail: What about artists who have emerged in the last one or two decades?
Barney: Neo Rausch interests me because of his imagination and how he composes his images to create such specific and strange narrative in each painting. And the colors are just as unique and spectacular. I also like Luc Tuymans for the total opposite reason: minimal use of image, and a simple, tonal yet equally strange palette. As for photographers, Thomas Ruff and Thomas Struth were very important to me. Ruff's large faces were a huge influence. What he's done as time's gone by, what his fascination with the camera can do, and the different sort of photographic games he plays. Struth too, because of the family portraits he did at the beginning, but also the museum photographs.
Tina Barney, Bike Parade, 2017. Chromogenic color print, 30 x 40 inches. Edition of 5 (1/5) © Tina Barney, Courtesy Paul Kasmin Gallery.
Rail: Do you crop your images?
Barney: I don't crop at all. Why would you drag around this huge 8×10 camera and then crop part of the image? The idea of cropping to me is sacrilegious. But now with digital photographs being a new language, in which all sorts of manipulations are welcomed and embraced, it's all about, in the end, getting what you want that counts. For me, it has to do with time, how in that split second, I get the pleasure of intense focus on things that happen at the edge of the frame. In other words, up to this point I haven't paid much attention to digital technologies, but seeing the Stephen Shore show at MoMA changed my mind. Those digital prints look so fantastic.
Rail: I noticed that in your current exhibition, Landscapes, at Paul Kasmin Gallery, there's one new size, relatively small, 20×24 inches, compared to your two classics, 48×60 inches and 30×40 inches.
Barney: Exactly, and that's a big change for me, because for many years I only did 48×60 inches and 30×40. I feel like we've seen the big color pictures long enough. I always wanted to make a smaller photograph, but I just didn't know how to go about doing it. I've often walked into a group show and gravitated toward the smaller works of art, and I never really could understand why. I mean it has to be a strong work if it holds up in a big room. So this time I decided to make these 20×24 inch pictures, and I'm really glad I did. I think it makes you look at the larger ones differently, and then the smaller ones become almost like objects. So I really enjoyed having made and included them in the show.
Tina Barney, Tennis Court, 1988. Chromogenic color print. 20 x 24 inches Edition of 5. © Tina Barney, Courtesy Paul Kasmin.
Rail: Like Drive-In (2017), Bay Street (1988), and Tennis Court (1988)!
Barney: Exactly.
Rail: How do you mediate with scale, Tina?
Barney: Well, I wanted big pictures because I wanted the viewer to be able to see all these little objects, the beauty of the fabric, the texture of someone's skin, the clothes they wore, etc., and of course the specific environment they inhabit. It's like a writer who describes every inch of a room. I wanted to invite the viewer to come in. What I've experienced in photographing these landscapes was the sense of looking at this huge expanse in the distance, for the first time. It was a wonderful feeling in some sense, but in another sense I had no control of what was out there, which is new for me, but also what to do with it all. Where to stand, where to begin, of not having kind of structural devices to help me, no ceiling, no walls, no furniture, and that was just a very difficult and interesting sort of puzzle.
Tina Barney, 4th of July on Beach, 1989. Chromogenic color print. 30 x 40 inches. Edition of 5. © Tina Barney. Courtesy Paul Kasmin Gallery.
Rail: How to frame it . . .
Barney: How to frame it, what to do with the sky, how much space for the sky, or the ground, and then the color, so much grass, so many green trees—all of that drove me crazy. With these new landscape images, I learned that you have less control over what happens in the narrative. It is more about overall composition, which is an interesting shift.
Rail: They're not your typical Tina Barney pictures for sure. Were they taken in different times?
Barney: Some were taken in the '80s, for example, 4th of July on Beach (1989), and some are from last summer, like Bike Parade (2017), which looks like a train set because it was taken from high above.
Rail: Next question is: how do you respond or react to the space between people when they pose for your pictures?
Barney: Amy, Phil, & Brian (1980) is a good example because it was the first time I directed someone in a picture. I used a Pentax 35mm, handheld camera. I wanted to show the space between the people and how I thought the family was too far apart, both emotionally and physically. The family didn't show enough physical affection towards each other. So I had my son, Phil, stand on the diving board in the middle, with Amy on the left and Brian on the right. It's like a triangle that ties the three of them together. Similar visual devices are used throughout my work. I made good use of the hammock netting through the children's faces as another way to bring them together in Ada's Hammock (1982). The formation of the girl's legs in Diane, Mark, and Tim (1982) appear distorted but they lure you into the picture very effectively. I took this picture with a flash on the top of my 4×5, which was a huge deal. The composition of Graham Cracker Box (1983), on the other hand, was a nice accident. My friend had just gotten back from playing tennis, the kids were there, all the dishes were on the table. All I did was move the Graham Cracker box to the edge of the table because I wanted this feeling—beware, this seems perfect but things can fall apart.
Tina Barney, Graham Cracker Box, 1983. Chromogenic color print. 48 x 60 inches. Edition of 10. © Tina Barney, Courtesy Paul Kasmin Gallery.
Rail: The only stable form in the picture is the girl with the crossed arms on the right.
Barney: True. I asked her to sit there, while everyone else was immersed in their activities.
Rail: Of course, I notice there are repetitions, some characters who appear in several pictures.
Barney: You see them grow up. Like in Michael Apted's Up Series, from 7 Up to 56 Up.
Rail: In regard to the title of your 1997 book Theater of Manners, I thought of (Johann Kaspar) Lavater, who proposed in his study of physiognomy that a person's facial expression or type of posture corresponds with his or her inner psyche.
Barney: I do have a general interest in physiognomy, partly because I wonder if, let's say of a father and a son, the son has the exact same physical expression on his face as his father does—is that genetic, or physical, or imitative? There's no way to know for sure. I think it's imitative, but why do people want to look or act like their father, their sister, their brother? That really fascinates me. As you can see in the pictures of the Europeans, they were so formal there was no way I could tell them what to do. I just realized that the way they held themselves and presented themselves was far more interesting to let them do what they wanted to do, no matter how stiff they were. The gestures and the way they held themselves might have been imitative of the portraits they were surrounded by in spectacular homes, and houses, or castles. I really like the little girl with her two hands around her waist while standing on the chair.
Rail: The title The Little Sister is perfect. She's the one with the personality indeed.
Tina Barney, The Little Sister, 2002. Chromogenic color print, 40 x 30 inches. Edition of 5. © Tina Barney, Courtesy Paul Kasmin Gallery.
Barney: I agree. And the objects that appear in that space were just right.
Rail: Last question: what's the impulse that drove you to draw the figures? Were they drawn from life or photograph?
Barney: It began as filling time in between projects, in between shoots. I'd make sketches after my own pictures as ways to register the images differently than how they appear in the photographs. It's as though I'm giving them different movements and atmosphere, which in turn I became more sensitive to the subtleties of their gestures, postures, their presence essentially.
Phong H. Bui is the Publisher and Artistic Director of the Brooklyn Rail.


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Spanish nurse with Ebola may have touched her face with a glove when removing protective gear
Abby Phillip and
Abby Ohlheiser
Reporter covering digital culture
October 8, 2014 at 2:10 PM EDT
Maria Teresa Romero Ramos, a Spanish sanitary technician who became the first case of Ebola transmission outside of Africa, said she followed all the appropriate protocols when entering the room of an Ebola patient at Carlos III Hospital, but she acknowledged that she may have made a mistake when removing her protective suit.
"I think the error was the removal of the suit," she told Spanish newspaper El País by phone. "I can see the moment it may have happened, but I'm not sure about it."
Initially, Ramos told another Spanish newspaper El Mundo from her isolated hospital bed that she had "no idea," how she might have become infected.
But on Wednesday, German Ramirez, a doctor in the Carlos III Hospital's Tropical Diseases unit, said Ramos recalled that she might have had contact with her face after leaving an Ebola patient's isolation room.
"During the course of the morning, we looked at actions taken when [the nurse's aide] put on her protective suit," Ramirez said outside the hospital. "She has told us of the possibility that her suit had contact with her face.... It could have been an accident. It looks like it was the gloves."
Ramos became infected when she was treating Manuel Garcia Viejo, a priest who contracted the virus in West Africa. She entered Viejo's room only twice, once to change his diaper, and a second time to remove his belongings after he died on Sept. 25. She began experiencing symptoms of Ebola on Sept. 30, but was only admitted to the hospital Sunday. Tests confirmed Monday that she had contracted Ebola.
People treating patients with Ebola must wear full-body personal protective suits to prevent infection. But the process of putting on and taking off that equipment can also potentially lead to infection.
Ramos told El País that she might have made an error when she removed the suit after she cleaned the hospital room following the priest's death.
"What we've seen in the past among nurses in [West Africa] wearing [the personal protection suits] is very complicated," Daniel Epstein, a spokesman for the World Health Organization, said in an interview Tuesday. "Putting them on and taking them off requires a certain series of steps in a certain order.
"It's not that the suits fail; it's that people fail when they take it off."
Meanwhile, Spanish officials received approval from a Madrid court to euthanize her dog, Excalibur. In a plea to sympathizers, the nurse's husband, Javier Limón, who is also in quarantine in the hospital, asked the public to persuade Spanish officials to spare the mixed-breed dog's life.
"Hello, I'm Javier, the husband of Teresa Romero. I'm in the hospital, and I'm asking the population to help me to save my dog Excalibur who they [Spanish health officials] want to kill," Limón said in a video message.
Protesters took to the streets of Spain in an attempt to save the dog, but he was euthanized on Wednesday at 6:30 p.m. (CEST), according to Javier Rodríguez, a spokesman for the Madrid health ministry, El Mundo reported.
The procedure was done by members of the veterinary faculty at the Universidad Complutense de Madrid, "so that he would not suffer," El Mundo added.
One scientific study found antibodies to the Ebola virus in dogs, which suggests that they might have been previously infected, Tom Frieden, director of the U.S. Centers for Disease Control and Prevention, said in a news conference Tuesday. But he added that the canines are not believed to transmit the disease.
"We have not identified this as a means of transmission," Frieden said in response to a question about the Spanish case.
Carlos Rodriguez, a Spanish veterinarian and talk-show host, said the nurse's husband reached out to him from the hospital for help, according to the AP.
Now that there is a court order to euthanize the animal, "I can't stop this happening," Rodriguez said, according to the AP. Limón "asked me, crying, to at least make sure the animal does not suffer."
On Twitter, supporters around the world have used the hashtag #SaveExcalibur.
Have a heart. Save this much loved dog. #SaveExcalibur
— Sonja Boggs (@Wellcoach1) October 8, 2014
Spanish government chooses an innocent as the scapegoat of its ineptitude #SaveExcalibur pic.twitter.com/g63iGzIZuu
— Marion (@MarionRialc) October 8, 2014
Hospital and Spanish health officials are scrambling to find out how their systems failed to prevent Ramos from becoming infected, as tensions grow among health workers concerned for their safety in Ebola treatment wards.
"This has taken us by surprise," said Rafael Perez-Santamaria, head of the Carlos III Hospital, according to Reuters. "We are revising our protocols, improving them."
Doctors protesting outside the hospital on Tuesday called for the resignation of Spanish Health Minister Ana Mato, and they were joined in those calls by a Spanish doctors' union.
In addition to Ramos and her husband, several others were hospitalized because of suspicions that they might have Ebola. One Spanish man who had recently traveled to Nigeria and a nursing aide both tested negative for the virus in lab tests. A third nursing aide and a nurse were hospitalized with slight fevers on Tuesday night, according to the Wall Street Journal.
Limón, who also spoke to El Mundo in an interview, said that when his wife's symptoms began she stayed "mostly at home" until she was admitted to the hospital on Sunday.
Since being treated, Ramos said she is feeling "a little better."
[This post has been updated.]
Post Exclusive: How the world failed to stop the Ebola epidemic
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Spanish case highlights the risks and benefits of repatriating Ebola patients
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Here's what the Ebola epidemic (still) looks like in West Africa
Dallas officials send a message of calm about Ebola risk
Dallas Ebola patient receives experimental treatment
Patient may face charges in Texas


As we look at the effect that irregular weather events are clearly having on UK businesses – from the extremes of the Beast from the East to the hot summer last year, and whatever 2019 will bring, it's plain to see that climate change is affecting our productivity and profitability.
In fact, the Centre for Economics and Business Research said last year that the Beast from the East would negatively affect the UK's general output by 20%, reducing it by £1bn a day compared to normal.
Climate change is defined in the dictionary as 'a change in global or regional climate patterns, in particular a change apparent from the mid to late 20th century onwards and attributed largely to the increased levels of atmospheric carbon dioxide produced by the use of fossil fuels'.
Our planet's climate has constantly been changing over geological time. The global average temperature today is about 15C. But geological evidence suggests it has been much lower and much higher in the past – think Ice Age.
We are currently in a period of warming, but that warming is happening more quickly than it is thought to have in previous times. It would seem that the changes that would perhaps happen naturally are being overtaken by a warming caused by human pollution – mainly carbon dioxide. A warming that has serious implications for the stability of the earth's climate.
Exactly what climate change means for our planet is uncertain. It is expected to increase the frequency of extreme weather events, though. Scientists are forecasting increasing amounts of rainfall and flooding from storms and rising sea levels are all predicted. Drought in inland areas during hot summers is also likely to increase.
What is the world doing about climate change?
Back in December 2018, the United Nations met in Poland, for COP24, to create the Paris Rulebook – the set of rules that will help put the Paris Agreement and the actions needed to intensify work to counter climate change. The road to the Paris Agreement has been a long process, though, (it was first agreed at COP21 in December 2015). And, while the UN delegates have been busy negotiating, many businesses have started their journey to being more environmentally conscious already.
This is a fact backed up by the open letter, signed by fifty businesses from the World Economic Forum and presented to the delegates of COP24. The letter called for stronger action at that meeting.
It's clear from this that organisations around the globe are keen to make a difference. So what else are companies doing to help counter climate change and how could your business do the same, and benefit from it too?
When it comes to businesses making changes for good, carbon emissions is a great place to start. Thirty of those fifty WEF businesses we've mentioned above are already leading the way in this respect, having succeeded in reducing their emissions by nine per cent between 2015 and 2016. Easier said than done, perhaps, but there are organisations, and certifications, that can help you along the way.
ISO 14001 is the international standard for environmental management systems. Over 14,000 organisations are certified with the standard in the UK and over 250,000 globally. Working toward the standard requires a lot of work – from evaluating your environmental impact at every level and for every single process, through to creating and maintaining your environmental management system. It requires top down commitment and the buy in of every person within a business.
With it, though, businesses are able to benefit from the positive PR associated with great Corporate Social Responsibility (CSR) practice, as well as added credibility with procurement teams, particularly when bidding for work in the public sector. And, while many eco-friendly swaps can require an initial investment, they often save businesses money in the longer term.
We are becoming more and more conscious of the waste we create and, as businesses, we create a great deal. As much of this as possible should be recycled or reused. Replacing bins at each work station with recycling points in various central points will encourage recycling throughout your business. Equally, buying recycled or sustainably sourced products – for instance paper – or reusing envelopes and the like, can make a big difference.
Encouraging greener journeys can also work well to driving down your business' carbon footprint. Car sharing and bike to work schemes can also raise morale in a business – helping people to feel better about themselves and even more healthy. Why not encourage your suppliers to do the same?
Did you know that turning off the lights in a typical office overnight can save enough energy to make 1,000 cups of tea? If you are anything like us, those cups of tea get drunk very quickly, but it's plain to see there's a big saving to be made. Reminding people to turn off appliances and lights and to shut windows and doors can seem over-zealous, but it can help change to happen.
Regularly maintaining your heating and air conditioning can make it much more efficient, as can making sure there is good insulation at your property. Be sure to block drafts and keep radiators uncovered during colder months, too.
Even if all the businesses in the world started their journey towards reducing carbon emissions today, the threat of weather events – be they cold, wet, hot or dry - will be ever present. Ensuring you are prepared for these events through business continuity planning and by having adequate insurance in place, can mean the difference between one day's loss of productivity, a month's or even more.
To find out more about business insurance with Ryan's, call our Enterprise Division on 01473 343491 today.


(colloquial) An event at which one is expected to smile and shake hands for a photograph.
(colloquial) A photograph of people looking towards the camera and smiling while they shake hands, typically taken at such an event.
This page was last edited on 21 April 2018, at 15:28.


Israeli war plants have fired a number of missiles against Damascus, triggering the Syrian air defense that shot most of them, according to state media reports.
"The result of the aggression so far was limited to a strike on one of the stocks at Damascus Airport," said SANA's news agency a military source said. The attack took place at 11:15 (21:15 GMT), it said.
The state news agency also quoted a source of transport minister saying that the airport was running normally.
Syrian state media broadcast images of what it is said where the air defense shoots, with bright lights seen shooting over the night sky. Explosions were heard in one of the video.
1.  Many of them have been in the area south of Damascus.
"Two areas that hold military positions for Iranian forces and the Lebanese Hizbollah movement have been targeted," says the Syrian Human Rights Observatory.
Israeli Prime Minister Benjamin Netanyahu has promised not to let Tehran defend himself militarily in the war-torn country] The last Israeli attack reported by state media was on December 25, when a missile attack injured three Syrian soldiers.
In September, a highly Israeli official said Israel had carried out more than 200 attacks on Iranian targets in Syria no later than two years.


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The monomeric/oligomeric states of DDR2-V5-His and DDR2-Fc were confirmed by Western blotting under reducing and non-reducing conditions. As shown in Fig. 1b, DDR2-V5-His exhibited a relative molecular mass of ~60 kDa under both reducing and non-reducing conditions, consistent with this protein being in a monomeric state. In contrast, when resolved under non-reducing conditions, DDR2-Fc displayed a molecular mass of ~190 kDa, consistent with being an Fc-tagged dimer [22]. Under reducing conditions, DDR2-Fc displayed a mass of ~90 kDa. The oligomeric state of DDR2-Fc oligomers, induced by the presence of anti-Fc antibodies, was determined earlier using size-exclusion chromatography [22].
Discussion DDRs are type I transmembrane proteins in which their ECD is exposed to the extracellular milieu, ready to interact with collagens. On the Fmoc-Hyp-OH membrane, DDRs are displayed as a mixture of monomeric and homodimeric forms, and thus, they also exist as inactive preformed non-covalent homodimers [15]. Here we focused on the specific contribution of isolated ECDs of DDR2, capable of displaying monomeric, dimeric, or oligomeric forms, on collagen binding and collagen fibrillogenesis in vitro. We found that oligomeric and dimeric DDR2 ECD species showed the highest affinity toward immobilized collagen I, when compared to the monomeric form. These results are in agreement with earlier reports showing that a dimeric state of DDR2 ECD is required for high-affinity binding to collagen I [7] and oligomeric state of DDR2 ECD enhanced its binding to collagen [22]. Our results also help resolve the discrepancies arising from the different binding assays utilized in these earlier reports. Furthermore, pre-oligomerization of DDR2-Fc enhanced collagen binding in solid-phase binding assays in a manner similar to that observed for DDR1-Fc [18]. Conversely, monomeric DDR2-V5-His exhibited reduced binding, consistent with earlier reports using monomeric His-DS2, which comprised only the DDR2 discoidin domain [7], [9]. It is important to note that in an earlier study, amino-terminal tagged His-DDR2 ECD was characterized to be a non-covalently linked dimer [7]. This difference in the oligomeric state of His-tagged DDR2 ECD from this earlier work versus our current study could be due to the different sites for epitope tagging and/or differences in protein purification protocols. One possible explanation for differences in the binding ability of monomeric versus dimeric forms of DDR2 ECD to collagen could be that the monomeric form only binds to the primary GVMGFO site, whereas dimeric (and oligomeric) DDR2 ECD binds to additional sites on the collagen triple-helical molecule. Our results from AFM imaging support this hypothesis because the binding events for dimeric DDR2-Fc were observed to be more frequent than those for monomeric DDR2-V5-His on the collagen triple-helical molecule, under identical experimental conditions. Our earlier AFM studies had showed the existence of three possible binding sites for DDR2-Fc oligomers on the collagen I triple helix [11]. Recent studies using col II and col III toolkit peptides have identified that besides the primary GVMGFO site, four additional DDR2 binding sites exist on the collagen triple helix [13], [14]. Molecular modeling [13] and X-ray crystallographic studies [8] have provided insight into how the monomeric and dimeric forms of the DDR2 ECD can bind to the GVMGFO site, but no such studies exist for the remaining DDR2 binding sites. Although not discussed by the authors of these studies, it is interesting to note that in their toolkit studies, the various DDR2 ECD variants (including monomeric and dimeric DDR2 ECD) showed different relative affinities to these additional binding sites [13], [14]. For instance, while dimeric DDR2-Fc recognized the toolkit peptide II-5 [14], this site was not recognized by DDR2-His [13]. Thus, it is likely that binding of dimeric (and oligomeric) DDR2 ECD to additional sites on the collagen triple-helix could account for their stronger binding and inhibition of collagen fibrillogenesis when compared to the monomeric DDR2 ECD form.


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Home » Coast to coast » The 9th annual NYC Trans Day of Action for Social & Economic Justice points of unity
The 9th annual NYC Trans Day of Action for Social & Economic Justice points of unity
By Workers World staff posted on June 26, 2013
The following excerpted points of unity were initiated by TransJustice of the Audre Lorde Project, a lesbian, gay, bisexual, two-spirit, trans and gender non-conforming people of color center for community organizing.
Transgender activist Sylvia Rivera
On Friday, June 28, 2013, TGNC [trans and gender non-conforming] People of Color and allies will take on the streets of New York City once again to demand justice and let the world know that the Stonewall rebellion is not over and we will continue fighting for justice and raising our voices until we are heard.
These are the points of unity, which hold together the purpose of this important march:
▶ We demand an end to profiling, harassment and brutality at the hands of the police. Like many other oppressed communities TGNC people are targeted, profiled and brutalized by the police. The New York Anti-Violence Project reports that trans women are 2.9 percent more likely to experience police violence than all other people reporting violence.
We are in solidarity with FIERCE and their campaign to counter the displacement and criminalization of LGBTQ youth of color. We support legislation that would stop police and prosecutors from using possession of condoms as evidence of "criminal activity." We oppose Speaker Christine Quinn's call for increased policing in Chelsea and the Village, recognizing that policing doesn't end hate violence against LGBTSTGNC people. We demand an end to the discriminatory "Stop and Frisk" and other "Broken Windows" practices of the [New York Police Department].
▶ We demand justice for the many TGNC POC who have been beaten, assaulted, raped and murdered. These incidents continue to be silenced or misclassified. Instead of disrespecting the identities of TGNC POC, we call for media to address individuals by their preferred names and pronouns. The police and the media continue to criminalize us even when we try to defend ourselves.
We know through AVP's Hate Crime Report that 53.8 percent of hate crime murder victims are trans women of color. Hate crime laws will not solve the problem but will give increased power to the state to put more people in jail. Instead we call for a unified effort for all of us to look deeper into the root causes of why these incidents happen. In striving for social justice we seek to find ways of holding people accountable and coming to a joint understanding of how we can make our communities safer.
▶ We demand access to restrooms without fear of harassment or brutality. Far too many TGNC POC have faced harassment, violence and denial of usage of restrooms across New York City. We call for access to restrooms that match our gender identity and gender expression, and the development of gender-neutral restrooms, as well as accountability for staff and patrons of both private and public spaces when we face discrimination and abuse.
▶ We demand the full legalization of all immigrants. We stand in solidarity with Indigenous-identified Two-Spirit people and the sovereignty of the First Nations, on whose land we now see the U.S. attempt to enforce arbitrary borders.
TGNC POC people deserve the right to access competent and respectful immigration services. We demand that the consulates of all countries respect and honor our identities and issue passports and other documentation that accurately reflect who we are.
▶ We oppose the Secure Communities program, the guest worker program, the Real ID Act, enforcement provisions to build more walls and give greater powers to the Department of Homeland Security, increased barriers for asylum seekers, and other anti-immigrant policies.
▶ We are in solidarity with all prisoners, especially the many TGNC POC people behind the walls. We call attention to the under-reported accounts of violence and rape that our community faces at the hands of correction officers and other prisoners, in psychiatric facilities and group homes. We demand an end to the torture and discrimination TGNC POC prisoners face. We demand that all TGNC POC prisoners receive competent and respectful health care.
We oppose the continued growth of the prison-industrial complex that continues to target our communities, yet we recognize that TGNC POC people need access to services and facilities that lessen our vulnerability to violence within the present jails and prisons. We call attention to the criminal injustice system that increasingly puts POC, immigrants, people with disabilities, TGNC POC and poor people behind bars — criminalizing our communities and our lives.
▶ We oppose the U.S. "War on Terrorism," an excuse to legitimize the expansion of the U.S. as an imperial superpower and to separate our communities by fostering feelings of hate, xenophobia and violence. We demand the immediate removal of all U.S. troops from all countries under occupation and demand an end to the use of U.S. dollars to cultivate and sponsor wars against people in the U.S. and abroad.
▶ We demand accessible, respectful and comprehensive health care. TGNC POC people deserve the right to access quality health care and be treated with dignity and respect while receiving necessary care. We demand that health care providers and insurance providers acknowledge this right and provide this service without bias and discrimination.
▶ We demand safety while utilizing public transportation. We celebrate that due to a court ruling, TGNC POC are now protected while utilizing public transportation in NYC and can take action against the MTA (NYC's public transportation system) if its employees use discriminatory language. TGNC POC utilize the MTA daily and should be addressed by their preferred pronoun, should not be targeted by employees or harassed by other customers. We call on the MTA to ensure the safety not only of TGNC POC but of women, children and all riders.
▶ We demand that all people receiving public assistance be treated with respect and dignity. We are in solidarity with all people living on public assistance. We celebrate that the Human Resources Administration, the NYC welfare agency, passed the procedure for serving TGNC clients and approved a community-developed training curriculum. But we call for full implementation of the procedure, including culturally competent trainings for all employees that does not put the burden of education on the TGNC POC community.
▶ We demand access to respectful and safe housing. A disproportionate number of TGNC POC have been or are currently homeless, and experience violence and discrimination when trying to access shelters and housing programs. We are in solidarity with Queers for Economic Justice in their demand that all [Department of Homeless Services] shelters provide adequate trans sensitivity trainings for all personnel and enforce clear non-discrimination policies that respect the dignity and safety of all homeless people.
▶ We demand that TGNC POC people have equal access to employment and education opportunities. We are outraged by the high numbers of TGNC POC who are unemployed. Few TGNC POC have access to opportunities for learning in a safe school environment. TGNC POC demand that all employers and educational institutions implement non-discrimination policies that respect the rights of all workers and students and that they comply with the NYC Human Rights Law that prohibits discrimination against gender identity and expression.
We commemorate the memory of Deja Kelis Edwards and the many brave souls we have lost, who have struggled and lived their lives fearlessly, being true to who they were. They keep the fire of struggle burning within all of us.
TGNC
Indonesia 1965: The Second Greatest Crime of the Century


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YouTube TV goes live in five cities, promises more channels to come
Google's streaming channel bundle includes all major broadcast networks and plenty of sports.
By Jared Newman
TechHive | PT
YouTube TV is ready to take on the likes of Sling TV and PlayStation Vue—at least in a handful of markets.
The $35 per month streaming bundle is now available in the metropolitan areas of New York, Los Angeles, San Francisco Bay Area, Chicago, and Philadelphia. Other U.S. markets are "coming soon," Google says, though the company has not announced any specifics.
YouTube TV's lineup covers more than 50 channels, including ABC, CBS, NBC, Fox, ESPN, Fox Sports networks, and Comcast SportsNet. An image of the full channel lineup—minus some newly announced AMC networks—is below, and you can check out our previous coverage for details on what's included and what's not.
[ Further reading: The best streaming TV services ]
The story behind the story: YouTube TV is now the fourth major streaming bundle to launch in the United States, joining Sling TV, PlayStation Vue, and DirecTV Now. But unlike those options, YouTube TV is not available in any markets where it can't offer all four major broadcast networks. Sony previously tried that strategy with Vue, but altered course a year ago for its nationwide rollout. It'll be interesting to see whether Google stands firm in its commitment to local broadcast feeds over time.
Sign-up perks and more channels
For customers who can get YouTube TV, Google is offering a one-month free trial and will send out a complimentary Chromecast after the first month's payment. For now, Chromecast is the only way to watch YouTube TV on the big screen, though Google says it will support more TV platforms later this year. The service is also available on the web, iOS, and Android.
As for the channel lineup, Google says it will soon add AMC, BBC America, IFC, Sundance TV, WE tv, and BBC World News at no extra charge. Sundance Now and Shudder will also be available as individual add-ons, joining Fox Soccer Plus and Showtime.
YouTube TV is still missing channels from several major networks, such as Turner, Discovery, and Viacom. Earlier this month, Turner CEO John Martin said YouTube was making a "big mistake" by omitting its networks, which include TNT, CNN, and TBS. But keep in mind that TV networks tend to demand that all their channels be bundled together. Bundlers like YouTube need to make tough decisions about which networks to include, otherwise they'll end up with the same sky-high prices that are making cable less attractive.
Channel mix aside, YouTube is touting the strength of its cloud DVR feature, which has no storage limits (like Sling TV) and will hang onto recordings for nine months (a half-year longer than PlayStation Vue). Google is also throwing in access to original programming that was previously tied to the YouTube Red subscription service.
We hope to get our hands on YouTube TV soon. In the meantime, you can sign up for the free trial through the web, download the YouTube TV apps for iOS and Android, or get notified of future available markets.


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Bookshop Genres A Death in C Minor: A Mick Chandra Mystery by Rebecca Yount
Genre:FICTION
SubGenre:Mystery & Detective / Police Procedural
Series title:Mick Chandra Mysteries
A Death in C Minor
A Mick Chandra Mystery
by Rebecca Yount
Determined to rebuild her life following a suicide attempt, beautiful young American concert pianist Jessica Beaumont retreats to a 17th century cottage near the village of Kenwick, in rural England. She is embroiled in the murder investigation of a secretive neighbor who was hacked to death in his manor house with his own kitchen cleaver. Soon she becomes romantically entangled with one of the murder suspects, a handsome wealthy landowner, then with Scotland Yard's Mick Chandra.
Determined to rebuild her life following a suicide attempt, beautiful young American concert pianist Jessica Beaumont retreats to a 17th century cottage near the village of Kenwick, in rural England. She is embroiled in the murder investigation of a secretive neighbor who was hacked to death in his manor house with his own kitchen cleaver. She soon becomes romantically entangled with one of the murder suspects, a handsome wealthy landowner. Hungry for love, she flings herself full-tilt into an affair with him. Then, on a rainy evening, Detective Inspector Michael "Mick" Chandra of New Scotland Yard shows up at the door of her rented cottage, informing her that he has been assigned to reopen the case. Against the backdrop of a violent murder evolves a passionate love story. When Jess herself finds the critical clue to the killing, she is threatened to become the next victim.
Rebecca Yount hails from a literary family. She is a published author of poetry and editor of books and periodicals. She is also a composer and lyricist, whose work has been performed at Lincoln Center, New York. She was inspired to write the Mick Chandra novels during a summer sojourn in Essex, England. A bloody, unsolved murder had recently been committed in the local village. Intrigued by the case, Rebecca decided to solve the mystery in a novel. Her protagonist, the cocky but competent Scotland Yard inspector Mick Chandra, was inspired by a real-life inspector she met on another summer visit to England. She meticulously researches the series on-site in the UK and at New Scotland Yard to ensure authenticity. Rebecca lives on a lake in Montclair, Virginia, with her husband David, a prolific author and syndicated columnist, plus a Scottish terrier, and two cats.
When Half Spent Was the Night by Rebecca Yount
The Oracle of Baal by Rebecca Yount
The Ravenhoe Cauldron by Rebecca Yount
The Erlking by Rebecca Yount


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Home > Animal Advocacy > How Can Research Best Empower Animal Advocacy?
How Can Research Best Empower Animal Advocacy?
By Casey Taft | January 15, 2017 | Categories Animal Advocacy
Image Credit: 123RF
I have long been critical of "effective animal advocacy" research on the grounds that (a) The work is often conducted by untrained amateurs without research experience; (b) The work has a bias against animal rights; (c) The research design, methods, analyses, and interpretations of findings have been highly flawed; (d) Peer review is almost never sought; (e) Often, misleading reports are disseminated in a reckless way and released directly to the public; and (f) This largely pseudoscientific research is misused to direct donations to a small group of charities that are highly inter-connected and all share the same basic ideology. A recent, excellent article by Harrison Nathan digs into this work in considerably more detail than previous efforts, demonstrating how some of these problems, particularly the methodological ones, may be even worse than some of us thought.
While these issues are all very serious, I would like to take a step back for a moment and ask more of a meta-question: What should the role of research in animal advocacy be in the first place?
This is a question that I have never seen substantively debated. It seems that many take it as a given that we should go where the science leads us, that the research should drive where we go as a movement. I believe that there is a place for research in the movement, but it need be conducted within the proper framework where it is guided by theory and where we are mindful of its limitations.
A fundamental error that the effective animal advocates make is that they disregard the importance of theory in research on behavior change. In clinical psychology and the social sciences, we don't just throw out specific change promotion techniques that are not grounded in any particular theory of change. Such an approach would be considered unscientific and would lack credibility. In the effective animal advocacy community, however, there is an overemphasis on testing specific strategies without any regard for their theoretical basis. We will have a difficult time helping others make true internal change regarding how they view non-human animals, and help them come to a place where they decide to opt out of contributing to their harm, if we base our strategy on a haphazard collection of marketing techniques, evaluating them one by one using studies that also lack rigor. This limits what we can learn about how our advocacy influences change, and hinders our ability to derive replicable, action-oriented strategies from our work. We need to have a theory that guides our efforts and that places our research findings in context.
There are many theories of change and motivation that are applicable to research in animal advocacy, some of which I outline in my book Motivational Methods for Vegan Advocacy: A Clinical Psychology Perspective. There are vast research and theoretical literatures on motivating others to change, the processes of change, the process of goal-setting, and the importance of developing relationships in helping others change, all of which have heretofore been ignored by effective animal advocacy.
Another problem is that efforts to determine effective activist messages lack clarity about what values they seek to promote. I believe that animal advocacy research should be conducted within an animal rights framework. By this I mean that we should begin from an assumption that every animal has inherent value and a basic right not to be treated as a commodity or resource, and therefore we won't promote strategies that affirm or accept harm to nonhuman animals.
This goes without saying in research aimed at preventing violence against humans. In my field of domestic violence intervention, it is taken as a given that we promote nothing less than an end to the violence. There is vigorous debate regarding the strategies beyond that, but none about the starting position that no violence is acceptable. For example, as a domestic violence researcher, I would not investigate an "abuse-less Monday" strategy, or any strategy of harm reduction where we encourage domestic abusers to only cut down on their violence and not eliminate it. Such strategies run counter to fundamental principles of human rights and social justice. Conducting research into these strategies would legitimize them and reinforce social norms that support violence towards others. Any argument suggesting that this is not so in the case of nonhuman animals is speciesist by definition.
We also need to recognize the limitations of what research can tell us. Available research methods may not tell us much about the impact of different strategies on societal norms. It is critically important to look beyond our direct effect on individuals, and consider what sort of messages we put out into the world. Giving the broad message that it's socially acceptable to do harm to animals in moderation, such as by promoting reduction in animal use rather than veganism, could reinforce the speciesist societal mentality that animals are ours to use. Even if we are able to show that we can persuade some people to cut down on their animal use through speciesist strategies, the net impact of such interventions may be negative for the animals. It would be difficult to quantify these impacts in either direction.
Social science cannot replace social justice. Research in animal advocacy should be embedded within a social justice framework and should not be thought of as the source of the movement's strategic vision. If we are not mindful of the limitations of this enterprise, it may lead to unrealistic expectations, dubious claims, and a misallocation of resources. Nevertheless, it is my contention that marrying an animal rights perspective with existing frameworks for enhancing motivation and facilitating change has powerful potential, and could teach us a great deal about how we can change the game for nonhuman animals. Hopefully a larger discussion about these important issues will take place in the near future.
About Casey Taft
Casey is co-owner of Vegan Publishers and Professor of Psychiatry at Boston University School of Medicine. He's an internationally recognized researcher in the area of violence and abuse prevention, winning prestigious awards for his work from the International Society for Traumatic Stress Studies, the Institute on Violence, Abuse and Trauma, and the Centers for Disease Control and Prevention. He has published over 100 journal articles, book chapters, and scientific reports. He has recently authored Motivational Methods for Animal Advocacy: A Clinical Psychology Perspective (Vegan Publishers) and Trauma-Informed Treatment and Prevention of Intimate Partner Violence (American Psychological Association).
View all posts by Casey Taft →
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Q: How to print output with linebreakers from command line When I want to print an output like this
./myScript (prints some lines)

or
cat myFile

I want the output to show with linebreakers , for example each line will include not more than 100 chars.
aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaffffff
vbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbf
aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

there is something I can add to the command line to get this result ?
Thanks.

A: You can use sed if you want the line terminator as ,.
$ cat myfile
aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaffffffvbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbfaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

$ sed -r 's/.{50}/&,\n/g' myfile
aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa,
aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaffffffvbbb,
bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbfaaaaaa,
aaaaaaaaaaaaaaaaaaaaaaaaaaaaa

fold is another utility but won't add a , at the end
$ fold -w50 myfile
aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaffffffvbbb
bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbfaaaaaa
aaaaaaaaaaaaaaaaaaaaaaaaaaaaa

redpajama_set_name: RedPajamaStackExchange


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A Liberal View on the Affect of the COVID-19 Pandemic on Globalization
By Daniel Yermenko
Death or Dawn of Globalization?
It is not correct to say that the coronavirus failed because of the idea of globalization, because the new pandemic that is sweeping the world has only shown how fragile the system of globalization is today. I believe that COVID-19 has in some cases even had a positive effect on globalization, because now the countries can recognize where they are vulnerable and correct their deficits.
The main problem that caused the collapse of globalization was the lack of alternative protection for production (Political Department for External Relations, 2021). When countries are dependent on the global trading system and thereby specialize in certain industries, they endanger the less focused industries, because if the trade channel is suddenly closed, the state has nowhere to draw resources that it cannot provide.
The only part of the index that shows an unprecedented collapse due to Covid-19 is the flow of people. Commerce has recovered strongly, capital flows have recovered, and digital information flows have increased. https://t.co/4CwQy0KgZ1
– The prepaid economy. (@prepaid_africa) August 2, 2021
In a world of globalization, states are closely linked, at least think the liberals. Countries must work together for common prosperity. After all, an economy that has reached the global level, for example, is a rather complex system of production, trade and finance and, accordingly, cannot do without cooperation. Based on these provisions, countries should not only work together to act with each other but also work together to fight the pandemic as this virus has spread around the world and is very costly for all countries. Countries must share their knowledge and technology to defeat the disease.
But that's not what happened in the world. While the US tried to corner scarce medical supplies, the EU literally failed to coordinate its policies on the coronavirus, and worse, the US and China began to argue over who would be responsible. If we look at the sales strategies of masks, equipment, suits and medicines in different countries, we can understand that the "trade war" is still going on, which in turn means that globalization is out of the question.
Why? Unfortunately, being dependent on states does not mean that they cooperate. Just one example of the US imposing sanctions on China when it realized that the Chinese economy had grown too strong. After the sanctions were imposed, they were completely withheld from the materials they used in rocket science because China was the main supplier of these materials. States only cooperate when it comes to undermining interdependence and threatening survival, as was the case during the Cold War, for example. States prefer to negotiate and implement arms races and form alliances. However, COVID-19 poses no threat to national survival and is therefore not a sufficient reason for global cooperation.
However, people began to work together intellectually a long time ago, this is the phase of globalization that has never failed. People worked together to prevent an outbreak of the virus as early as the SARS virus outbreak in 2002 and also in 2012 when MERS emerged (SARS: A Pandemic Prevented, 2013). This case even led to the creation of a scientific network called the SARS Club. Back then, people avoided secrecy and competition, which led to breakthroughs in this area, but now states are also taking over science. For example, the collaboration between China and the United States could lead to great discoveries, but the feud between them has reduced resources to fight the virus. In these judgments too, realistic expectations have prevailed, as all cooperative action has been replaced by state priorities.
With regard to the effects of the coronavirus on globalization, the following facts can be summarized:
1) First, the world was not ready to give up globalization, and the system of globalization itself failed, causing a crisis in almost every country in the world.
As mentioned earlier, this does not mean that the world is giving up the idea of globalization, but, on the contrary, is starting to use new methods of interaction on the world stage.
2) I believe that countries will start to reduce trade in vital goods and produce them themselves to build reserves for emergencies, or if they import these very vital goods they will also use them to accumulate.
I would like to believe that after the pandemic, or better still during the pandemic, a liberal attitude will play a role and that people will use globalization as an opportunity to exchange knowledge and, despite differences of opinion between states, make new discoveries together and raise the financial resources State support.
3) It is worth noting that Covid-19 has also had a major impact on people's online shopping habits. I think people will now shop online more often, probably from other countries as well, which means globalization will stay in its place.
4) Perhaps liberal views will come to the fore and states will become more cooperative. After all, liberal principles consist of four imperatives: interdependence, transnationalism, growth of international institutions, and democracy.
Daniel Yermenko is Chief Marketing Officer at Global Transportation Service.
The views expressed in this article do not necessarily reflect those of Al Bawaba News.
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3 ideas for sports and nature holidays on the banks of the Loire
Home > Guide Welcome > 3 ideas for sports and nature holidays on the banks of the Loire
The Loire Valley is known for its exceptional historical heritage. Magnificent historic buildings line the course of the royal river. But holidays on the banks of the Loire are also conducive to the practice of outdoor sports.
From Sully-sur-Loire to Chalonnes-sur-Loire, the Loire Valley is an exceptional cultural landscape, listed as a UNESCO World Heritage Site. But it is also a sumptuous and preserved natural environment, to be discovered at the slow pace of a bike ride, horseback ride or canoe ride. Here are 3 ideas for a 100% sport and nature holiday in banks of the Loire.
The underground Loire à Vélo…
From Saumur in Maine-et-Loire, the itinerary the Loire by bike takes you on a discovery of the troglodytes on the hillside. You will start this route with the vineyard and a breathtaking view of the Loire. Then enjoy the crossing of Montsoreau, classified among the most beautiful villages in France. Explore in banks of the Loire, and finally access the curiosity of this plot. You will then enter the bowels of the tuffeau chalk cliff, where the stones of the stately homes were once extracted. Surprising troglodyte dwellings were then installed there.
Banks of the Loire, not far from Montsoreau
Horseback riding on the banks of the Loire
In the heart of the AOC Saumur-Champigny vineyard, a nice walk between Turquant and Saumur, goes into banks of the Loire. Throughout the 25 kilometres, you will appreciate the vineyards, the galleries dug into the tufa, but also the castles, mills and washhouses. The opportunity to immerse yourself in the culture and history of the region, while admiring the landscapes in the company of your mount.
Pleasures of a trip on the river in a canoe
Hold the line the banks of the Loire without having traveled the river in a canoe. Get away from the banks of the Loire and contemplate nature from its heart. At the slow pace of paddling, you will discover abundant flora and fauna. At the bend of a meander, you will see a castle, a residence or a mill. You will come back from your walk serene, tired and happy to have been the privileged witness of all these natural and historical treasures.


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