Any time I want to, I could spend more time consulting. This would make my clients happy. It would help me create much more value, and they would get more value from me than from other ways they could spend their budget. I would improve my skills along the way, especially with people's requests and feedback. And to top it all off, I would earn more money that I could add to my savings, exchange for other people's time or talents, or use to improve our quality of life.
Maybe I can use this temptation's strength against it.
Maybe I can treat client work (with its attendant rewards and recognition) as a carrot that I can have if I make good progress on my personal projects. If I hit the ground running in the morning, then I can work on client stuff in the afternoon. A two-hour span is probably a good-sized chunk of time for programming or reporting. It's not as efficient as a four-hour chunk, but it'll force me to keep good notes, and I know I can get a fair bit done in that time anyway.
The other part of this is making sure that I don't give myself too-low targets so that I can get to client work. It'll be tempting to pick a small task, do it, and say, "There, I'm done. Moving on!" But I have to sit with uncertainty and figure things out. I expect that learning to work on my own things will mean encountering and dealing with inner Resistance. I expect that my anxious side will whisper its self-doubt. So I lash myself to the mast and sail past the Sirens, heading towards (if I'm lucky!) years of wandering.
Part of this is the realization that even after my experiments with delegation, I'm still not good at converting money back into time, learning, ability, or enjoyment. Time is not really fungible, or at least I haven't figured out how to convert it efficiently. I can convert time to money through work, but I find it difficult to convert money back to time (through delegation) or use it to accelerate learning.
Extra money tends to go into projects, tools or cooking experiments. Gardening is one of my luxuries: a few bags of dirt, some seeds and starters, and an excuse to be outside regularly. Paying someone to do the first draft of a transcript gets around my impatience with listening to my own voice. Aside from these regular decisions, I tend to think carefully about what I spend on. Often a low-cost way of doing something also helps me learn a lot – sometimes much more than throwing money at the problem would.
But there are things that money can buy, and it's good for me to learn how to make better decisions about that. For example, a big savings goal might be "buying" more of W-'s time, saving up in case he wants to experiment with a more self-directed life as well. House maintenance projects need tools, materials, and sometimes skilled help. Cooking benefits from experimentation, better ingredients, and maybe even instruction.
How have I invested money into learning, and what have the results been like?
Books? Some books have been very useful. On the other hand, the library has tons of books, so I have an infinite backlog of free resources. Buying and sketchnoting new books (or going to author events) is good for connecting with authors and readers about the book du jour, but on the other hand, I also get a lot of value from focusing on classics that I want to remember.
Courses? Meh. Not really impressed by the online courses I've taken so far, but then again, I don't think I'm approaching them with the right mindset either.
Learn how to improve Emacs Lisp performance and reliability: profiling, code patterns, tests, etc.
Actually, in general, how does one accelerate learning?
Freedom: safety net that permits experimentation, time to focus on it instead of worrying about bills, etc.
Hmm. I have some experience in investing in better tools, higher-quality resources, experimentation, feedback/analysis, delegation, and freedom. I'd like to get better at that and at investing in relationships and outsourcing. Come to think of it, that might be more useful than focusing on learning from coaching/instruction, at least for now.
$: Bring the community together. Invest in platforms/organization. For example, I can use whatever I would have spent on airfare to create a decent virtual conference experience, or figure out the etiquette of having an assistant set up and manage Emacs Hangouts/Chats.
Huh, that's interesting. When I start thinking about investing in learning, I tend to fixate on finding a coach because I feel a big gap around directly asking people for help. But I can invest in other ways that might be easier or more effective to start with. Hmm… Thoughts?


text:
«Я розкажу» () — второй студийный альбом украинской певицы Ирины Билык, выпущенный в 1994 году на лейбле NAC.

В 1992 году певица сняла первое профессиональное видео на песню «Лише твоя» и стала лауреатом международного фестиваля «Песенный Вернисаж. Новая украинская волна». Также же было снято видео на песню с альбома «Божевільна». В преддверии выпуска пластинки было выпущено видео на песню «Нова», впоследствии артистка исполнила её на фестивалях «Мария» и «Славянский базар».

Отзывы критиков
Рецензент портала UMKA в своем ретроспективном обзоре заявил, что на этом альбоме впервые прозвучали песни, которые уже вскоре привели Ирину Билык к настоящей популярности. Также он отметил, что именно на этом альбоме можно ощутить неповторимую прелесть первых аранжировок: они звучат легко, прозрачно, словно страсти ещё не успели разгореться на полную.

Список композиций

Участники записи
 Ирина Билык — вокал
 Жан Болотов — клавишные, программирование, аранжировка (2-8)
 Георгий Учайкин — гитара (1-3, 5-8)
 Алиса Маликова — саксофон (3, 6)
 Олег Кобцев — перкуссия (6)
 Юрий Никитин — бас-гитара (1), продюсер
 Вячеслав Зализняк — ударные (1)
 группа «Цей дощ надовго» — аранжировка (1)
 Олег Барабаш — звукорежиссёр (8)
 Владимир Лещенко — звукорежиссёр (2, 3, 5-7)
 Игорь Прима — звукорежиссёр (4)
 Сергей Рязанцев — звукорежиссёр (1)
 DJ Vova Black's — ремикс (9)

Примечания

Ссылки

Альбомы Ирины Билык

redpajama_set_name: RedPajamaWikipedia


text:
Evolutionary biologists grow "tree of life" faster than ever before
Mapping the evolutionary history of the world around us is now a whole lot easier, thanks to a new mathematical method developed by scientists at The University of Queensland's Institute for Molecular Bioscience.
The method offers scientists a faster way to manage and make sense of the massive amounts of genetic data — produced by DNA sequencing technologies — needed to create evolutionary trees.
Evolutionary or phylogenetic trees — also known as "trees of life" — help scientists to visualise the relationships between groups of organisms.
They first appeared in Charles Darwin's 1859 book The Origin of the Species.
Lead IMB researcher Professor Mark Ragan has spent 15 years exploring ways to speed up the production of these "trees of life".
Professor Ragan said creating the trees required complex comparisons between large numbers of genetic sequences from selected organisms, which was a laborious, time-consuming task requiring immense computing power.
"In recent years we've seen the popularity of genetic sequencing rise and the costs of sequencing drop, so developing new methods to efficiently compare large volumes of genetic data has never been more important for the research community," he said.
"For more than 50 years, researchers have thought that to compare the genetic sequences of organisms, it was necessary to begin by making a multiple alignment of the genes.
"Multiple-sequence alignment is tough to get right, so we have developed an alignment-free method that can create a robust phylogenetic tree that can be equally or more accurate, but is much quicker to produce.
"With our method, you can skip the alignment step, which means you don't have to painstakingly assemble the genetic data first, so we can create these trees thousands of times more quickly than ever before."
Professor Ragan said he hoped the new method would have useful applications beyond evolutionary biology.
"Researchers can also use this method to study how genetic material moves between bacterial genomes to cause disease, and to better understand and manage complex natural environments such as agricultural soils or coral reefs," he said.
The study was published this week in Scientific Reports and was supported by UQ, the James S McDonnell Foundation, and the computational resources of the National Computational Infrastructure (NCI) National Facility and Specialised Facility in Bioinformatics.
To make a tax-deductible donation to Professor Mark Ragan's research, visit imb.uq.edu.au/donate or call +61 (07) 3346 2134.
Media contact: IMB Communications Manager Gemma Ward, 07 3346 2134 or 0439 651 107.
IMB Sequencing Facility
Ragan Group
Venom researcher awarded competitive health and medical fell...
Fixing a faulty molecular 'transport hub' could slow brain d...

redpajama_set_name: RedPajamaCommonCrawl


text:
Bold step forward in Malta's architectural scene that takes contemporary luxury living to all-new heights. To learn more about Mercury Towers by Zaha Hadid Architects visit mercury.com.mt
Paceville, St. Julian's
Mercury Towers
33-storey Tower
A mix of Historical and Ultra-Modern
Mercury Towers is J. Portelli Project's most ambitious undertaking to date. Located at the heart of St. Julians, J. Portelli commissioned the internationally renowned Zaha Hadid Architects to design a unique high-rise tower. This commission was in fact one of the final concept designs signed off by Zaha Hadid personally. The project is a fitting legacy of a lifetime of signature architectural achievements.
Details and Amenities
Mercury Towers is a mixed use development designed by the world class and internationally renowned architectural firm Zaha Hadid Architects. This is one of the final projects signed off by Zaha herself, only a few days before her untimely passing. The finished project will include a mix of historical and contemporary edifices on its site. At its heart is a 19-century heritage building, which will be flanked by a 33-storey residential tower with a luxury 5-star ME by Meliã, a hotel brand of Meliã Hotels International, situated in its podium.
This is a unique project that J.Portelli Projects has targeted as a signature development with the visual presence, architecture, and technical solutions that are a first in Malta.
To learn more about Mercury Towers visit mercury.com.mt
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When implementing an intranet for the first time or re-launching an existing intranet, I'm often asked whether it's a good idea to give the intranet a name.
The answer is simple – yes it's a fantastic idea!
The intranet is part of your business and the last thing you want is people saying "it's on the intranet" because this sounds too staid, boring and impersonal and makes it much harder to engage employees.
By naming your intranet it can develop an identity and even have a distinct personality. This can be further enhanced if an intranet character is created. It seems a simple idea and it is, but you'll be amazed at the results as interest and enthusiasm will follow. The intranet will quickly become a vital business tool as it makes it a lot more friendly and approachable to your employees.
A great way to name your intranet is to let the employees choose it. If you're looking for a fun way to encourage staff participation then run a naming contest. Management can get take advantage of the contest to build excitement among staff before the intranet is launched. Employee engagement is critical when it comes to user adoption of the intranet, what better time to get them involved than at the very beginning.
By the way, you can name an existing intranet if it doesn't have one. But if it has a name already that people are familiar with then it's wise to leave that name in place. On the other hand, you can use a re-naming contest as a way to create enthusiasm among staff for a re-launch or to highlight a significant upgrade.
Management should be sure to publicize the launch of the intranet in newsletters, press releases and on the website. Letting the public know the company encourages knowledge sharing and information innovation can build a quality brand image that has a benefit beyond the firewall.
These are some of the names our clients have given to their "intranet".


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text:
Trump's List of 42 Disastrous Things Joe Biden Would Do as President
RUSH: Forty-two disastrous things Biden would do as president. Trump yesterday put the list out. It's 42 things that Biden has proposed, 42 things that Biden and the Democrats have promised. These are not things that Trump says look out, if Biden wins, this is what might happen. These are things that Biden is already saying and that Crazy Bernie has already said.
In the Rose Garden address a couple days ago, he said, " "It's probably never been a time when candidates are so different. We want law and order; they don't want law and order. We want strong closed borders with people able to come in through merit, through a legal process; they don't want to have any borders at all."
This list is incomplete because the list does not mention that Biden has promised to revoke every Trump tax cut. Biden has promised to raise everybody's taxes. And with millions of people out of work, promising to do that is the single biggest impediment to job creation that he could come up with.
Joe Biden is gonna take money away from job creators when millions of people need work, and he's gonna allow borders to be wide open for the migrants of the world to come into this country while millions of Americans are trying to get their jobs back.
The people running the Democrat Party today are Marxists, and they are in solidarity with Black Lives Matter. Let me just give you some of the things that Biden has proposed. And these, by the way, come from a transcript of the president's press conference two days ago in the Rose Garden, but they literally come from Biden's own position papers, party platform planks, statements that he's made during interviews, however few there have been.
Biden will abolish immigration detention. No more detention. If you come in here illegally, it's catch-and-release. Biden has said he will stop all deportation of illegal aliens. He will end prosecution of illegal border crossers. He will continue to support and expand sanctuary cities. He will incentivize by virtue of some of these policies illegal alien child smuggling. It's not that Biden wants that to happen. It's he's gonna enable it to happen with some of his other policies.
Biden will expand asylum for all new illegal aliens and cancel asylum cooperation agreements with Honduras, Guatemala, and El Salvador. We know this because of Biden's stated open-door policies related to the border. Folks, they're gonna have it wide open. It's the single, quote, unquote, easiest thing they could do to completely annihilate this distinct American culture is just overrun this country with the migrants of the world and have them be rewarded for coming.
Now, I'm here to tell you that the Joe Biden of 30 years ago would no more support any of this stuff. The Joe Biden of 30 years ago did not hate America. The Joe Biden of 30 years ago, even 20 years ago, did not think the United States was inherently rotgut racist, bigoted, and needed to be disbanded and reconstituted. The Biden of today is going to enact policies based on those exact beliefs, whether he knows he's doing it or not.
Taxpayer funded lawyers will be given to illegal aliens. Not just free lawyers — you're gonna pay for them. He's gonna restore catch-and-release policies. He's got to with some of these other things that he's gonna support. He's gonna grant illegal aliens work permits. Federal student aid, free community college for illegal aliens. New immigrants will be signed up for welfare immediately. Whether there's a need for it or not, they're gonna be immediately be put on the welfare rolls.
Biden will end the requirement for immigrants' self-sufficiency and maximize their welfare. You know, legal immigration now requires that you pledge and promise to support yourself. Biden's gonna erase that. Not gonna be necessary. Gonna end the requirement that legal immigrants pledge to support themselves. And he's gonna maximize their exposure to welfare. He will grant a one-time mass amnesty to every illegal immigrant in the country. And they're not gonna have to do. Not gonna have to come out of the shadows first, not gonna get in line. He's just gonna grant mass amnesty. It's what Crazy Bernie would do. Biden has adopted it.
On the legal immigration side, Biden and the Democrat Party are going to expand the number of low-skilled legal immigrants that they certify and authorize to come into the country. It's the exact opposite of legal immigration today. We want the best and brightest, we want the educated, we want the smartest, we want people who love America and want to be part of America. All that will be erased and will not be a factor in Joe Biden's legal immigration policies. He's gonna abolish law enforcement as we know it. He does believe in defunding the cops because the Democrat Party does. Look. This list goes on. This is just some of the stuff that Biden will do.
RushLimbaugh.com: The President's Rose Garden Takedown of Biden Angers Democrats - 07.15.20
Breitbart: Donald Trump's List of 42 Disastrous Things Joe Biden Would Do as President


But it's been a good morning.
I always feel fairly content and cozy when we can sleep in a bit and there's time to meander through the day.
Today it was my hazelnut coffee blend with scratch pancakes, sausages and eggs for brunch; and as it was a very late brunch, we should be good until supper, which is nice.
Although I think I've missed a candle party, which I have to double check and for which I'll have to apologize if it was indeed today as I suspect, it has been a good day so far.
A load of towels is hanging on the line to dry, the first big meal of the day is done and nearly cleaned up, the sun is shining brightly, and the roses my husband brought me "just because" are opening up nicely and smelling like roses while I type at the kitchen table.
If the cough would be done it would be a perfect day.
As it is, we'll go with good, and get the last of the brunch things cleared away before heading to the sewing room to finish a Christmas project I've been working on.


text:
Q: Logging PreparedStatements in Java One thing that always been a pain is to log SQL (JDBC) errors when you have a PreparedStatement instead of the query itself.
You always end up with messages like:
2008-10-20 09:19:48,114 ERROR LoggingQueueConsumer-52 [Logger.error:168] Error
executing SQL: [INSERT INTO private_rooms_bans (room_id, name, user_id, msisdn,
nickname) VALUES (?, ?, ?, ?, ?) ON DUPLICATE KEY UPDATE room_id = ?, name = ?,
user_id = ?, msisdn = ?, nickname = ?]

Of course I could write a helper method for retrieving the values and parsing/substitute the question marks with real values (and probably will go down that path if I don't get an outcome of this question), but I just wanted to know if this problem was resolved before by someone else and/or if is there any generic logging helper that would do that automagically for me.
Edited after a few answers:
The libraries provided so far seems to be suitable to logging the statements for debugging, which no doubt is useful. However, I am looking to a way of taking a PreparedStatement itself (not some subclass) and logging its SQL statement whenever an error occur. I wouldn't like to deploy a production app with an alternate implementation of PreparedStatement.
I guess what I am looking for an utility class, not a PreparedStatement specialization.
Thanks!

A: I tried log4jdbc and it did the job for me.
SECURITY NOTE: As of today August 2011, the logged results of a log4jdbc prepared statement are NOT SAFE to execute.  They can be used for analysis, but should NEVER be fed back into a DBMS.
Example of log generated by logjdbc:

2010/08/12 16:30:56 jdbc.sqlonly
  org.apache.commons.dbcp.DelegatingPreparedStatement.executeUpdate(DelegatingPreparedStatement.java:105)
  8. INSERT INTO A_TABLE
  (ID_FILE,CODE1,ID_G,ID_SEQUENCE,REF,NAME,BAR,DRINK_ID,AMOUNT,DESCRIPTION,STATUS,CODE2,REJECT_DESCR,ID_CUST_REJ)
  VALUES
  (2,'123',1,'2','aa','awe',null,'0123',4317.95,'Rccc','0',null,null,null)

The library is very easy to setup:

My configuration with HSQLDB :
jdbc.url=jdbc:log4jdbc:hsqldb:mem:sample

With Oracle :
jdbc.url=jdbc:log4jdbc:oracle:thin:@mybdd:1521:smt
jdbc.driverClass=net.sf.log4jdbc.DriverSpy

logback.xml :
<logger name="jdbc.sqlonly" level="DEBUG"/>

Too bad it wasn't on a maven repository, but still useful.
From what I tried, if you set

You will only get the statements in error, however, I don't know if this library has an impact on performance.

A: This is very database-dependent. For example, I understand that some JDBC drivers (e.g. sybase, maybe ms-sql) handle prepared statements by create a temporary stored procedure on the server, and then invoking that procedure with the supplied arguments. So the complete SQL is never actually passed from the client.
As a result, the JDBC API does not expose the information you are after. You may be able to cast your statement objects the internal driver implementation, but probably not - your appserver may well wrap the statements in its own implementation.
I think you may just have to bite the bullet and write your own class which interpolates the arguments into the placeholder SQL. This will be awkward, because you can't ask PreparedStatement for the parameters that have been set, so you'll have to remember them in a helper object, before passing them to the statement.
It seems to me that one of the utility libraries which wrap your driver's implementation objects is the most practical way of doing what you're trying to achieve, but it's going to be unpleasant either way.

A: Use P6Spy: Its Oracle, Mysql, JNDI, JMX, Spring and Maven friendly. Highly configurable.
Simple and low level integration
Can print the stacktrace.
Can only print heavy calls - time threashold based.

A: *

*If you are using MySQL, MySQL Connector's PreparedStatement.toString() does include the bound parameters. Though third-party connection pools may break this.

*Sub-class PreparedStatement to build up the query string as parameters are added. There's no way to extract the SQL from a PreparedStatement, as it uses a compiled binary form.
LoggedPreparedStatement looks promising, though I haven't tried it.
One advantage of these over a proxy driver that logs all queries is that you can modify the query string before logging it. For example in a PCI environment you might want to mask card numbers.

redpajama_set_name: RedPajamaStackExchange


text:
Alexandre de Riquer i Ynglada ("Inglada", segons algunes fonts), comte de Casa Dávalos (Calaf, l'Anoia, 3 de maig de 1856 - Palma, Mallorca, 13 de novembre de 1920) fou un intel·lectual i polifacètic artista català: dissenyador, dibuixant, pintor, gravador, bibliòfil, exlibrista, escriptor i poeta, essent una de les figures més importants del modernisme a Catalunya.

Biografia
Nascut al si d'una família aristòcrata, els comtes de Casa Dàvalos i marquesos de Benavent, el seu pare Martí de Riquer i de Comelles fou un alt dirigent dels carlins a Catalunya, mentre que la seva mare, Elisea Ynglada, pertanyia a una família d'intel·lectuals i artistes com els escriptors Josep i Wifred Coroleu i els pintors Modest i Ricard Urgell.

Alexandre de Riquer va passar la seva infància en les propietats que la seva família tenia prop de Calaf i va estudiar al Col·legi de Jesuïtes de Manresa (1864-1867). Durant un breu període, de Riquer va viure amb la seva mare, fins que el 1869, el seu pare, que estava exiliat a França el va inscriure a l'escola de lImmaculé Conception de Béziers. Durant aquest parell d'anys va aprendre francès i va començar a mostrar interès per cursos d'art i de disseny. Va ser aleshores que va pintar els seus primers llenços. Entre 1873 i 1874 va fer classes, segurament no com a alumne matriculat, a lÉcole des Beaux Arts a Tolosa de Llenguadoc, on va pintar els seus primer retrats.

L'abril de 1874 Riquer i el seu pare van poder retornar a Barcelona, després que Elisea Ynglada obtingués el perdó per la implicació del pare de Riquer en el conflicte carlista. Alexandre de Riquer es va inscriure a l'Escola de Llotja, on estudiaria diversos anys amb Tomàs Padró, Claudi Lorenzale, i en particular amb Antoni Caba, el professor al qual més admirava. Va ser en aquesta època també que es va despertar la seva vocació literària. En aquelles dates va escriure els poemes Notes de l'alma datades l'any 1875, en els quals és patent la influència de Becquer i de Campoamor, com ho relata Martí de Riquer.

A causa de la situació econòmica desesperada de la seva família, Riquer es va veure obligat a treballar per guanyar-se la vida. Arran de la seva amistat amb l'escriptor i il·lustrador Apel·les Mestres va interessar-se pel món de la publicitat. També de la mà d'Apel·les Mestres va entrar en contacte amb el grup d'intel·lectuals format per Pompeu Gener i Babot, Joaquim Bartrina, Simó Gómez, Enric Obiols i els germans Josep Maria i Fernando Arteaga.

El 1879 va viatjar per tot Itàlia, recorrent ciutats com Roma, Pisa, Florència, Gènova i Venècia. Admirava especialment els pintors del quatrocento. El viatge de tornada el va fer via París i possiblement a través de Londres també, segons han assenyalat alguns biògrafs, tot i que no se'n tenen evidències.

De nou a Barcelona, començà a treballar il·lustrant revistes com La Ilustració Catalana i Arte y Letras. El 1881 va tornar a Itàlia, on freqüentava el grup d'artistes espanyols, entre els quals hi havia el català Enric Serra, amb qui Riquer tindrà un estret contacte.

El 1885 Alexandre de Riquer es va casar amb Dolors Palau Gonzalez de Quijano, filla d'una família distingida. Entre 1886 i 1898 el matrimoni tindria nou fills, tres dels quals van morir de petits. La responsabilitat d'una família tan nombrosa va ser un estímul perquè Alexandre de Riquer es dediqués amb cos i ànima a la seva activitat laboral, sobretot a partir de 1899, quan la seva dona va morir. Durant la dècada de 1880 va tenir una activitat prolífica com a il·lustrador de llibres i revistes.

En l'Exposició Universal de Barcelona de 1888 va col·laborar com a decorador en l'Hotel Internacional de Domènech i Montaner, a més de fer els plafons ceràmics de l'exterior del Castell dels tres dragons. D'aquesta època també es data la xemeneia del Palau Güell d'Antoni Gaudí.

L'Exposició Universal de París de 1889 va atraure molts artistes catalans entre els quals Alexandre de Riquer, qui va aprofitar el viatge per visitar el Musée du Cluny, ja que tenia una predilecció per l'art medieval i per Viollet-le-Duc, de qui se'n considerava deixeble. Però l'Exposició de París va impactar per una altra raó a Riquer: hi va poder veure les pintures dels prerafaelites anglesos.

El 1890 feu la seva primera exposició individual a la Sala Parés. Durant aquesta època va participar en la fundació del Cercle Artístic de Sant Lluc, on va ser el primer vocal conservador i va dissenyar la bandera, i tingué una gran vinculació amb la ciutat de Terrassa, on va decorar l'Institut Industrial i on va contribuir a la difusió del modernisme amb el seu amic Joaquim Vancells.

Fou durant el seu viatge a Londres el 1894 quan va conèixer el moviment dels prerafaelites anglesos i l'art japonès, que exercirien una gran influència en les seves creacions. També va conèixer el pintor i dissenyador William Morris (1834-1896) i, especialment a Edward Burne-Jones qui el va influir per dedicar-se amb especial interès a les arts gràfiques i decoratives, introduint a Catalunya el modernisme d'inspiració britànica. El 1895, va acusar un canvi radical introduint aspectes neogòtics i japonesistes especialment visibles en el format de cartells, pintures i llibres, allargassat com els kakemono.

La seva casa-taller era al carrer Freneria 5, al Barri Gòtic de Barcelona. Va ser el mateix Alexandre de Riquer que la va decorar. Des de la finestra es veien els campanars de la catedral de Barcelona, i aquest va ser el motiu pel qual Joan Maragall l'anomenava el niu d'àguiles. Tenia tres pisos i per tant la utilitzava d'estudi i al pis de dalt hi vivia la família. Durant un temps hi va haver la redacció de la revista Catalunya, que va dirigir l'artista. La casa-taller va ser un lloc d'encontre d'intel·lectuals i s'hi celebraven reunions musicals. A més Alexandre de Riquer, gran col·leccionista, hi guardava les seves col·leccions de llibres, dibuixos del  i XVIII, diverses enquadernacions, i la seva col·lecció d'ex-libris o les seves col·leccions de vidres antics.

El 1893 es va fundar el Cercle Artístic de Sant Lluc. En la primera directiva Alexandre de Riquer en va ser vocal. Va contribuir a potenciar l'esperit gremialista al Cercle, segurament arran del seu coneixement de la germandat prerafaelita. Aquell any es va fer una exposició a l'Ateneu Barcelonès. S'hi van exposar dos nus de Ramon Martí i Alsina. El jurat, del qual formava part Alexandre de Riquer, els va considerar immorals i els van rebutjar. Això va provocar una polèmica, i el grup d'intel·lectuals relacionat amb L'Avenç van culpar Riquer per la seva reputació d'home conservador.

Alexandre de Riquer va destacar especialment com a dissenyador gràfic amb gran domini del dibuix. La seva gran producció artística en aquest camp va tenir un paper fonamental en l'estètica modernista, essent l'autor d'algunes de les imatges gràfiques més representatives del Modernisme català. Va fer de tot: cartells, gravats a l'aiguafort, exlibris, il·lustracions a llibres i revistes, com Joventut, diplomes, postals, segells, recordatoris, menús, partitures, targetes comercials, goigs, etc. Entre algunes de les seves obres com a decorador, es poden esmentar la decoració del presbiteri de Montserrat, la Maison Dorée el 1903, guanyadora del 2n premi del "Concurs anual d'edificis artístics" o la de la Vaqueria Catalana, al passeig de Gràcia, el 1905.

Vidu des de 1899, Alexandre de Riquer es va tornar a casar el 1911 amb Marguerite Laborde (1880-1973), una escriptora francesa coneguda pel pseudònim d'Andrée Béarn. Junts van viatjar per Mallorca, Eivissa, Castella i Andalusia, i tingueren un fill, Jean de Riquer (1912-1993), que fou pintor i gravador. En aquesta època, a més, Alexandre de Riquer va realitzar diverses exposicions tant individuals com col·lectives, i el 1917 va marxar a Mallorca, on pintaria molts paisatges i on va morir tres anys després, el 1920.

Obra artística
Alexandre de Riquer va ser modernista en tots els sentits. Va ser un personatge polifacètic: il·lustrador, pintor, decorador, moblista, esmaltador, gravador, enquadernador, cartellista i exlibrista entre altres facetes. Gran part del mèrit, però, rau en el fet que Riquer va introduir moltes de les tendències artístiques estrangeres que aleshores estaven en voga a Europa com el prerafaelisme i alhora va ser l'introductor del cartell, va potenciar tècniques artístiques cada cop menys utilitzades com l'aiguafort, i va iniciar la renovació de l'art de l'ex-libris.

Alexandre de Riquer i l'art anglès
El 1848 es va iniciar a Londres el moviment prerafaelita amb la creació de la Pre-Raphaelite Brotherhood. Els prerafaelistes es posicionaven en contra l'art de Rafael i els seus seguidors i tenien com a trets característics el retorn al fet medieval i a la natura. Per altra banda, els temes que tractaven eren bíblic o cavallerescos, així com eren seguidors de Dante Alighieri. La germandat prerafaelita va desaparèixer el 1852 però altres artistes i associacions van continuar el seu esperit. I en aquest sentit es va fundar el 1888 Arts and Crafts. El seu exemple es va difondre a Europa en la dècada de 1890.

Si bé en el primer viatge de Riquer a Londres el 1879 no va ser determinant per la seva carrera artística, va ser l'estada el maig de 1894, el seu segon viatge a Londres, la clau per entendre com l'art anglès va suposar un nou horitzó per ell. Va ser un viatge que va marcar la seva teoria de l'art. Va comprendre la personalitat de l'art anglès als museus de Londres veient obres de Edward Burne-Jones, John Everett Millais, Dante Gabriel Rossetti entre d'altres. L'art anglès donava forma a les idees sobre art a les quals Riquer aspirava. Admirava aquell art original sorgit d'una societat industrial. William Morris i l'Arts and Crafts li van proporcionar exemples d'un neomedievalisme renovat. Li van proporcionar també una doctrina en la qual l'artista com a decorador no era menyspreat.

Per altra banda, Alexandre de Riquer era subscriptor de la revista The Studio, apareguda el 1893, a través de la qual es va propagar lart nouveau anglès que li va proporcionar un model artístic, i va provocar un major grau d'estilització en el seu llenguatge artístic. Alexandre de Riquer pensava que havia de fer conèixer a Catalunya aquest moviment i el principal mitjà per fer-ho va ser el seu propi art. Per tant, la figura d'Alexandre de Riquer va ser important perquè va contribuir a fer conèixer l'art anglès, en un moment propici a Catalunya, immersa cap a un canvi artístic cap al modernisme. Alexandre de Riquer va veure que l'Arts and Crafts posava èmfasi en l'artesania, i lloava l'estatus industrial de l'art ideal i refinat amb la producció industrial. Aquest tret també es donarà en el modernisme català, ja que es potenciarà el cartellisme, la producció d'ex-libris o dels gravats, dels quals Alexandre de Riquer en va ser un gran exponent.

En aquest viatge, Alexandre de Riquer també va entrar en contacte amb l'esteticisme, a través del qual es va introduir al món del japonisme. A través d'aquest moviment l'artista afegirà elements del Japó, com les composicions verticals, la simbologia vegetal o l'ús de tintes planes amb contorns definits tan pròpies del gravat d'aquell país.

Entre 1895 i 1907, Alexandre de Riquer va ser un dels principals exponents del modernisme. Seguint el model d'Arts and Crafts, va diversificar la seva carrera. A més de ser artista plàstic, va escriure obres literàries seguint l'ideal del prerafaelisme.

Il·lustrador

La producció gràfica d'Alexandre de Riquer va ser molt àmplia: marques d'aigua, dissenys de caplletres, anuncis, revistes, cobertes per partitures de música o targetes entre altres. Va reprendre una àmplia gamma de productes derivats de la impremta com: les targetes de mà, menús, invitacions postals de Nadal, programes d'espectacles i altres esdeveniments, catàleg o postals. L'artista tenia una gran habilitat en l'art del gravat. Generalment utilitzava la tècnica de l'aiguafort.

De fet, Alexandre de Riquer va contribuir a fer renéixer l'art de gravat a Catalunya que aleshores no era gaire apreciada. L'artista considerava que a Barcelona faltava una classe de gravat, ja que aquest ensenyament va desaparèixer el 1879 de la ciutat. Va ser per això que Riquer va obrir en el seu estudi del carrer Freneria una classe no oficial de gravat. Alguns dels seus seguidors van ser Josep Triadó o Joaquim Renart a qui va introduir a la tècnica de l'aiguafort. En el seu viatge de 1894 a Londres va comprar una impremta, amb la qual feia els dissenys pels seus treballs a revistes i altres.

El seu treball en revistes va ser molt prolífic. La il·lustració del modernisme comença amb Apel·les Mestres, però Alexandre de Riquer va ser el primer a practicar la il·lustració simbolista. Va ser director artístic de revistes com Joventut i Luz i va col·laborar a Pèl & Ploma, Ilustració Catalana, L'Avenç, Catalònia, o La Renaixença.

Entre 1880 i 1890 va il·lustrar alguns dels llibres de la col·lecció "Artes y Letras". També és destacable el llibre Los estudiantes de Tolosa, en el qual Riquer publica sis gravats, i que va ser imprès per Fidel Giró amb fototípies de J.Thomas.

En la primera edició de Canigó de Jacint Verdaguer, Alexandre de Riquer va decorar les vinyetes. Del mateix autor, el 1902 n'il·lustraria el poema "Sant Francesc s'hi moria", en el número 25 de la revista Cu-cut! El 1897 va fundar juntament amb Adrià Gual, Miquel Utrillo, Ricard Opisso i Sala, Josep Maria Roviralta i Santiago Rosal el setmanari Luz, on en va ser el director artístic a més d'il·lustrador.

També el 1897 va il·lustrar la coberta i la decoració interna de Rinconete y Cortadillo de Miguel de Cervantes, i el 1898 va il·lustrar El sueño de las calaveras de Francisco de Quevedo. El 1900 va començar a ser el director artístic de la revista Joventut.

Pel que fa a altres facetes com a il·lustrador trobem les targetes, menús, felicitacions o programes, el 1889 va fer les invitacions i el carnet de ball del primer ball de disfresses del Círculo Artístico. El 1902 va fer la targeta postal per a les festes de la Mercè. El 1906 va dissenyar el menú d'un banquet que el cònsol general de França va oferir a la comunitat francesa. El 1908 va dibuixar la felicitació de Nadal per a Frederic Lliurat i Carreras.

El cartell

El cartell va néixer a França. Alexandre de Riquer va descobrir el cartell modern policrom a la seva estada a Londres el 1894 i va importar aquest art, i va contribuir a l'aparició del cartell modernista a Catalunya. El que és encara avui considerat com el primer cartell modernista català és el de la Tercera Exposició de Belles Arts i Indústries de Barcelona de Riquer que va guanyar el concurs convocat per l'Ajuntament el 1896. Es tracta d'una composició neogòtica influïda pel prerafaelisme tardà.

Els seus cartells tenen gran influència anglesa. La influència japonesa la podem observar en la línia gruixuda dels contorns, els formats allargats i l'ornamentació floral. La seva producció cartellística és breu però, ja que a partir de 1900 se centrarà en els exlibris. El cartellisme que practica Riquer s'emmiralla amb el repertori formal dels simbolistes belgues Henri Privat-Livemont i Edmond Meunier. Aquest decorativisme es veu en el cartell de Moisacos Escofet.Tejera y CA (1900). Tot i que els cartells de Riquer van anunciar productes molt diversos, des de licors a llibres, passant per exposicions, els cartells de Riquer acostumen a utilitzar la figura de la dona com a tema central, envoltant-la de decoracions vegetals. El 1899 es va fer la seva primera exposició de cartells catalans i l'artista en va fer la presentació.

Alexandre de Riquer va fer uns vint i escaig cartells entre 1896 i 1902. Alguns dels seus cartells són:

 1896- Ayuntamiento de Barcelona. IV Exposición de Bellas Artes e Industrias Artísticas
 1896- Granja Avícola de San Luis. Sarriá
 1896- "Napoleón" (A. i E. Fernández, fotógrafs)
 1896- Quan yo era noy
 1897- Grau y Cía. Fabricantes de galletas y bizcochos. Badalona
 1898- Mosaicos Hidráulicos Orsolá, Solá y Cia
 1898- Anís del Mono
 1898- Crisantems
 1899- IV Exposició del Círcol de Sant Lluch
 1899- Revista Catalanista Joventut

Cal destacar la tasca d'Alexandre de Riquer com a col·leccionista de cartells. La seva col·lecció de cartells, denominada Àlbum Riquer que avui es conserva al Gabinet de Dibuixos i Gravats del Museu Nacional d'Art de Catalunya té 128 obres, la major part de cartellistes nord-americans.

Alexandre de Riquer i l'exlibrisme català

Riquer va destacar en el camp tant de la creació com del col·leccionisme d'exlibris. Va ser el renovador d'aquest art a Catalunya a finals del .

Fins al moment, lexlibrisme català era eminentment de caràcter heràldic i tipogràfic. En l'últim quart del  l'art de l'exlibris va patir una sèrie de canvis que van portar a l'aparició de l'exlibris català contemporani. Alexandre de Riquer va tenir una importància cabdal en aquest procés.

En el segon viatge que Riquer va fer el maig del 1894 a Londres va entrar en contacte amb el moviment prerafaelita anglès i amb lAesthetic Movement. En aquesta ocasió Riquer va estar a Londres durant uns mesos, podent, així, estudiar la pintura simbolista anglesa.

Pel que fa a l'art de l'exlibris, Riquer es va interessar en el moviment de renovació de l'exlibrisme anglès. El 1891 s'havia creat lEx-Libris Society, una de les primeres associacions a nivell europeu. L'hivern de 1898 la revista anglesa The Studio, va publicar un amplíssim article sobre l'exlibrisme modern europeu i americà. Es tractava d'un article col·laboratiu profusament il·lustrat titulat Modern Book-Plates and their designers. Va ser la publicació d'aquest article que va fer prendre consciència definitivament de la necessitat de renovació d'aquest art. Alexandre de Riquer pensava que la renovació i impuls de l'exlibrisme català havia de tenir com a referència l'art modern anglès. Alexandre de Riquer va col·laborar en nombroses revistes modernistes dedicades als exlibris, com la Revista ibérica de exlibris (1903-1906), en altres de generals, com Luz (1898) o Joventut (1900), però sempre fent una defensa fèrria de l'exlibrisme.

Un altre aspecte important que cal destacar és la tasca formativa en l'àmbit del gravat que Riquer va dur a terme de forma més aviat improvisada. El taller de gravat de l'Escola de Belles Arts de Barcelona va ser tancat el 1879 per falta d'estudiants. Aquest fet deixà un buit en l'ensenyament d'aquesta tècnica a Barcelona. Riquer havia portat una impremta des de Londres i s'havia iniciat en el gravat calcogràfic en el seu taller del carrer de la Freneria. Nombrosos dibuixants d'exlibris com Josep Triadó o Joaquim Renart hi van aprendre la tècnica de l'aiguafort.

En aquest impuls de l'exlibrisme català va tenir dos focus d'activitat: Barcelona des d'on treballava Alexandre de Riquer, Josep Triadó i Mayol i Joaquim Renart i Garcia, i per altra banda Reus, on treballaven Ramón Casals i Vernís i Pau Font de Rubinat.

La producció d'exlibris d'Alexandre de Riquer és molt àmplia. Se'n conserven 142, 58 dels quals són exlibris gravats a l'aiguafort. Especialment celebrats són lEx-libris del rei Alfons XIII, rei d'Espanya (1904) i lEx-libris pel poeta Joan Maragall (ca. 1911). Tal com en la seva obra gràfica l'artista estava influenciada pel prerafaelisme anglès. El professor Eliseu Trenc va estudiar el corpus d'exlibris de l'autor i el va dividir en cinc etapes formals. Malgrat tot en l'obra exlibrística de Riquer sempre hi ha unes característiques comunes: l'evocació del passat medieval, els models figuratius seguint esquemes repetitius, la figura de la dona com a tema central, presència de personatges amb actituds malenconioses. L'estètica prerafaelita era la seva inspiració: els ex-libris tenen un gran detallisme a l'hora de representar vestits o túniques. Tenen per altra banda un ric repertori ornamental: joies, pentinats, complements fantasiosos. Els motius decoratius són propis de l'Art Nouveau.

El 1903 Alexandre de Riquer va ser el primer qui va publicar un llibre d'exlibris sota el títol dEx-libris d'Alexandre de Riquer. Aquest llibre tenia dotze pàgines de text i 63 pàgines que recollien els exlibris: gran part dels exlibris són fotogravats de format petit, impresos a dues tintes. Són d'inspiració modernista: apareixen motius centrals com la figura femenina, un rostre ocupant gran part del disseny, dones llegint o mirant-se al mirall, i també hi apareixen animals com ocells. Els motius decoratius són sobretot motius vegetals i florals, garlandes i fulles d'acant. Es va publicar a Barcelona, a Leipzig i a la Gran Bretanya on va ser distribuït amb anterioritat entre 1904 i 1905.

Alexandre de Riquer va participar en exposicions d'exlibris, com l'organitzada el 1906 a la Sala Parés o la de l'Associació de Cultura Catalana el 1907. També va participar en una exposició d'exlibris a Budapest el 1913.

Va guanyar dos premis que va rebre en relació amb la seva producció d'exlibris: la Primera Medalla en l'Exposició Nacional de Belles Arts de Madrid el 1906 i la Medalla de primera classe en la V Exposició Internacional de Belles Arts de Barcelona el 1907. Alexandre de Riquer és l'artista català d'exlibris més reconegut internacionalment.

Com a col·leccionista d'exlibris Alexandre de Riquer va tenir preferència per l'obra gràfica i va ser un gran col·leccionista d'exlibris. S'ha d'entendre l'actitud col·leccionista de Riquer des del punt de vista del creador: com la voluntat de saciar la curiositat i d'ampliar el seu repertori visual. El fons d'exlibris de la col·lecció d'Alexandre de Riquer és de 3.386 obres.

Pintor i decorador

Alexandre de Riquer havia començat a pintar abans de la dècada de 1880. En la seva carrera com a pintor, els temes tractats en les seves pintures van ser paisatgisme, la religió, i la figura humana. La figura humana apareix com a real, imaginativa o mitològica. A més va utilitzar diferents tècniques pictòriques.

Alexandre de Riquer tasca d'Alexandre de Riquer s'ha de relacionar amb la seva faceta de decorador majoritàriament, tot i que també va pintar retrats, o paisatges rurals o urbans. El paisatge en l'obra de Riquer sempre s'emmarca en el simbolisme. Tot i que després de marxar de Barcelona, quan s'instal·la a Mallorca, pintarà paisatges sense connotacions simbolistes.

La seva tasca com a decorativista va ser molt extensa: va pintar plafons decoratius per diversos edificis, va projectar mobles, gerros, plats llums. Va dissenyar banderes, vidrieres, peces d'orfebreria, a més de la il·lustració de la qual ja n'hem parlat. El primer encàrrec que es coneix va ser la decoració de la casa del poeta Jacint Torres i Rayetó el 1884. Riquer també va decorar altres interiors de cases. El 1888 va rebre l'encàrrec de decorar l'Hotel Internacional –que va dur a terme amb Joan Llimona i Dionís Baixeras-, i el Restaurant del Parc de l'Exposició Universal de Barcelona.

Va instal·lar un taller, la raó social del qual era A.de Riquer y Cía, per decorar habitatges, edificis o botigues, i per la fabricació de mobles al carrer Pau Clarís 38 de Barcelona. El 1896 va pintar dos grans plafons murals, de dotze metres d'alçada al presbiteri del Monestir de Montserrat. El 1900 va decorar el Cercle del Liceu. En va fer el vestíbul i l'avantsala amb llums de gas, mobles decorats amb esmalts i mobles ornats amb la combinació de fusteria i metall, i també va dur a terme pintures murals. Alexandre de Riquer també va pintar els plafons ornamentals sobre les quatre estacions de la Casa Alegre de Sagrera de Terrassa.

Per altra banda, també va dissenyar peces d'orfebreria com la "copa himeneu" per a la joieria Masriera o el medalló d'esmalt "Messalina" o un medalló per la Unió Catalanista. El 1899 va dissenyar el domàs per confeccionar la bandera del Cercle Artístic de Sant Lluc, i també la bandera de l'Orfeó Català l'any 1902.

Obra literària

La primera obra de Riquer és Notas del alma, un recull de 35 poemes escrits el 1835, els quals tots estan escrits en castellà menys un parell: un escrit en català i l'altre en francès. El 1897 un cartell del mateix Alexandre de Riquer anunciava l'edició del seu primer llibre en prosa, Quan jo era noy, sobre els records de la seva infantesa a Calaf.

El seu segon llibre és Crisantemes i va ser publicat el 1898. Es tracta d'un conjunt de poemes en prosa o meditacions. Va ser el mateix artista qui va dibuixar-ne les caplletres. El 1902 es va publicar el seu primer llibre de poemes titulat Anyoranses. És una obra plena de tristesa i melancolia, amb referències dantesques, en el qual es canta a l'esposa morta. Segueix la línia de la literatura prerafaelita. L'any 1906 va sortir Aplec de Sonets, un recull de poemes que està dividit en tres parts: la primera dedicada a l'edat antiga, la segona al Renaixement i la tercera a l'època moderna. El mateix any, Alexandre de Riquer va escriure un altre llibre de poemes, que no seria editat fins a 1978, i que rebia el nom de Petons. Petons compartia la temàtica dAnyoranses.

El darrer llibre de Riquer és Poema del Bosch, i es va publicar el 1910. L'autor hi mistifica el bosc com a element sagrat.

 1875: Notas del alma. Manuscrit
 1897: Quan jo era noy
 1899: Crisantemes
 1899: Obdulia
 1900: El rei dels álbers
 1902: Anyorances
 1906: Aplec de Sonets
 1910: Poema del Bosch (Publicat per Adesiara editorial, Martorell, 2020).
 1978: Petons

Premis i reconeixements
 1886 - Premi ofert per "Amics del País" pel disseny d'un sostre (Surge et Ambula)
 1893 - Medalla d'or a la secció de mobiliari de la World's Columbian Exposition de Chicago
 1896 - Primer Premi- Concurs de cartells per a la IV Exposició de Belles Arts i Indústries Artístiques de Barcelona
 1898 - Segon Premi. Concurs comercial de cartells "Anís del Mono".
 1899 - Tercer Premi. Concurs de lletres ornamentals de la revista Art et Décoration
 1902 - Primera Medalla- Exposició de les Arts del Llibre de Londres per l'enquadernació de Crisantemes
 1906 - Primera Medalla en l'Exposició Nacional de Belles Arts de Madrid
 1907 - Medalla de primera classe en la V Exposició Internacional de Belles Arts de Barcelona
El 2020, el Departament de Cultura de la Generalitat de Catalunya va proclamar l'Any Alexandre de Riquer, comissariat per Teresa Costa-Gramunt, amb un seguit d'actes i publicacions.

Referències

Bibliografia

 Alexandre de Riquer: Exposició antològica [Exp.Centre Cultural Caixa de Terrassa, 8.3-3.4/2001]. Terrassa: Fundació Cultural Caixa Terrassa, 2001
 Alexandre de Riquer: obra gràfica. Terrassa: Caixa Terrassa; Barcelona : Marc Martí, DL 2006
 Alexandre de Riquer 1856-1920 : pintures, plafons decoratius, etc. ... Sala Caixa de Barcelona gener-març, 1985. Barcelona : Caixa de Barcelona, 1985

Enllaços externs

 Gaudí i el Modernisme a Catalunya / Arts Decoratives / Alexandre de Riquer - Biografia
 Obres d'Alexandre de Riquer al MNAC
 Associació Catalana d'Ex-libristes. Visió històrica d'ex-libris
 Pàgina web dedicada a Alexandre de Riquer (en francès)
 Pàgina del Cercle Artístic de Sant Lluc

Alumnes de l'Escola de la Llotja
Bibliòfils catalans
Calafins
Escriptors anoiencs contemporanis en català
Exlibristes catalans
Nobles catalans del sud contemporanis
Pintors modernistes catalans
Cercle Artístic de Sant Lluc
Morts a Palma
Gravadors catalans del sud contemporanis
Cartellistes catalans del sud contemporanis
Dissenyadors catalans del sud contemporanis
Poetes catalans del sud contemporanis en català
Enterrats al Cementiri de Montjuïc
Naixements del 1856
Morts el 1920


Our Master Therapist Tiffany Maldonado is a Walla walla native and mother of two lively boys. She is a graduate of Healthworks Institute in Bozeman, Montana. Tiffany is passionate about providing therapeutic massage, using her knowledge of neuromuscular therapies and myofascial release modalities. She enjoys spending time with friends and family, volunteering for Hospice and working on her essential oils business.
Please call the Health Center to schedule an appointment, 509-527-5295.
Appointment times are Wednesdays at 4, 5:15 or 6:30 p.m.
Fees: 30 minutes - $45, 1 hour - $75, and 90 minutes - $100.
Forms of payment taken: cash, check, Apple Pay, Visa, MC, AmEx, Discover, JCB and Union Pay.


The word listed above (protagonists) is probably the correct spelling for the word that you entered (protaganists). This is just an educated guess based on commonly misspelled words. To double check that this is the correct word you can use the resources below to find the definition of protagonists, antonyms for protagonists, synonyms for protagonists, quotes relating to protagonists and other information about protagonists.
According to our records, the word (protaganists) may be misspelled. For information about what we believe to be the correct spelling of the word you are looking for (protagonists), please click here.


Member of the Toulouse Local Ethic Committee "South-West and Overseas # 2"
Inventor of EARTH, a computerized-tests battery dedicated to executive functions assessment.
Causse, M., Péran, P., Dehais, F., Falletta-Caravasso, C., Zeffiro, T., Sabatini, U., Pastor, J. (2013). Affective decision making under uncertainty during a plausible aviation task: An fMRI study. NeuroImage, 71:19-29.
Scannella, S., Causse, M., Chauveau, N., Pastor, J., Dehais, F. (2013). Effects of the audiovisual conflict on auditory early processes. Int J Psychophysiol, 89(1):115-122.
Causse, M., Pavard, B., Sénard, J-M., Démonet, J-F., Pastor, J. (2012). Positive and negative emotion induction through avatars and its impact on reasoning performance: cardiovascular and pupillary correlates. Studia Psychologica, 54(1):37-51.
Causse, M., Dehais, F., & Pastor, J. (2011). Executive Functions and Pilot Characteristics Predict Flight Simulator Performance in General Aviation Pilots. The International Journal of Aviation Psychology, 21(3), 217-234.
Erny, J., Pastor, J., Prade, H. (2007). A Fuzzy Similarity-Based Modelling Framework for Large-Scale Cerebral Networks. Lecture Notes in Computer Science, 2007, 4669, 29-38.
Labatut, V., Pastor, J., Ruff, S., Demonet, J. F., & Celsis, P. (2004). Cerebral modeling and dynamic Bayesian networks. Artif Intell Med, 30(2), 119-139.
Pastor, J., Lafon, M., Trave-Massuyes, L., Demonet, J. F., Doyon, B., & Celsis, P. (2000). Information processing in large-scale cerebral networks: the causal connectivity approach. Biol Cybern, 82(1), 49-59.


Mix the flour, sugar, yeast and salt in a mixer. Add, while mixing, the butter milk, whole egg, yolk and soft butter. Keep the egg white for finishing.
Knead the dough until elastic and smooth and make one large ball, put into a large bowl and cover with a moist kitchen cloth. Let it rise for 1.5 hour.
Divide the dough into small balls of approx. 90 grams and let it rise for 30 - 40 minutes. Brush the egg white on top of the small balls and sprinkle with some sesame and poppy seed. Bake in the oven for 15 minutes on 185C.
Cut the salmon in small cubes and mix with crushed rose pepper and finely chopped chives. Season with salt and pepper. Transfer into a round mould to make a firm burger patty of approx. 120 g.
Mix Hellmann's Real Mayonnaise with the finely chopped fresh herbs, cornichons, onion and capers. Season with mustard, salt and pepper.
Slice the burger bun open and grill cut side down on a skillet. Put the burger together with the samphire salad and pan roasted salmon burger. Finish the burger with the remoulade sauce, green herbs and edible flowers.


A MARRIED couple have appeared in court charged in connection with the murder of former Burnley rugby captain Fred Picton-Turbervill.
Husband and wife Lucky Ntuli, 36, and Synthia Ntuli, 35, were originally arrested soon after Mr Picton-Turbervill's death last month but have now been charged with handling stolen goods.
But they could now face charges in relation to the murder, which happened at Mr Piction-Turbervill's home in South Africa.
The couple, from Mozam-bique, appeared with co-accused Petro Morkel, 27, Rasel Thembe, 18 and Thokozane Nhlapo, 23, who are all also from the country.
The three are facing charges of murder, robbery with aggravating circumstances, housebreaking with intent to rob, and unlawful possession of ammunition.
The Ntulis have appeared at Tembisa Magistrates Court for possession of suspected stolen goods. The goods were allegedly those stolen from Picton-Tubervill's home.
South African prosecutors will now decide if the couple will face additional charges after their case was postponed until April 7 for the Ntulis to obtain legal aid and for the charge sheet to be finalised.
Mr Picton-Turbervill, 46, was shot in the head in front of his wife and children on January 5 when two gunmen burst into his luxury home in Pretoria.
He died in hospital a few hours after the attack.
Dad-of-five Mr Picton-Turbervill, had emigrated to South Africa three years ago with his wife Ursula, 41, and four of his children after running his own successful furniture design business - D'Uberville in Burnley.
Mr Picton-Turbervill had captained Burnley Rugby Club first team, then known as Caldervale, from 1984 to 1986, and played as a centre for the team until 1992. He also lived in Colne and Barrowford and worked in the Ribble Valley.
His son Jamie, 21, who still lives in England where he is studying at university, was due to celebrate his 21st birthday on the day his dad was shot.
The two robbers fled with a laptop, four mobile phones, jewellery and about R1000, or £74, in cash.
The accused have not applied for bail and all five remain in custody.


Showing results for tags 'Obsidian Entertainment'.
Pillars of Eternity 2 is going turn-based, eight months after launch Pillars of Eternity II: Deadfire players are no strangers to choice. But when you boot up the game from January 24th onwards, your first decision will come even before character creation – real-time or turn-based?
One person with knowledge of the deal told Kotaku they'd heard it was "90%" finished. Said a second person: "It's a matter of when, not if." There is little doubt in my mind that Obsidian is DOA without this deal.


Today my mother and I made a huge step forward in our scrapbooking process. We bought a Cricut! Oh, yes we did! It's the Personal Electronic Cutter model (aka: the smallest one) and it was on sale at Joann's. So we went halves-ies.
It's too much fun 🙂 We think there might be a danger of addiction happening here. Anyway, here's a couple of things that I created, with no pattern and just playing around. Love them!
In the picture of the cards, the one on the left (the graduation one, which was for my little sister. Way to graduate!) was cobbled together after the fact. We'd already amassed a pile of random cut out items, and I started piecing things together. It was cool to see something come together quickly when I hadn't had any thing in mind when I started.
The "Love" one was created after I decided I was done for the evening. As I was putting stuff away, I saw this design in some of the scraps. Of course, I had to get everything back out and make it. 🙂 It was worth it.
I'm so looking forward to all the fun things we can do with this. Especially after we get more than one cartridge!
Quick, fun, and super cute. I'm going to love this machine.
The wonderful device that give us such fun times.
The handles are alternating rows front post dc and back post dc. Again, it makes a wonderful texture and the handles won't be stretching out at all. However, it's basically doubling the fabric and therefore the time to finish it. It's going to be so fantastic when it's done though, it will be totally worth it.
Another learning adventure on this project was around the side seams. Up until now, I've picked projects that didn't have seams. Partially by chance, partially because I didn't want to mess with learning it. Turns out, that was silly. Seaming was easy 🙂 I don't think I did a real impressive job on it, but as I keep doing it I'll learn better ways. What matters is it works, it's solid and most importantly, it's done!
Well, the bag is out of the bag. Yep, my present to my mom is a bag and I've finally shown it to her. No, it's not done, but she knows anyway. Since one of my main times to work on projects is on Sunday afternoons when I'm with my family, trying to keep it a secret from Mom any longer would have meant it taking absolutely forever to get it done.
Anyway, the project is bag from a Crochet Dude pattern. Here's a link to a picture of the pattern. (On a side note, he's now one of my favorite designers. Love his stuff!) The only downside to this pattern is that it's essentially a doubled fabric. I do a row and then do a row over it. Beautiful and wonderfully textured, but it's another reason this bag is taking a while.


Make the entire window area responsive to dragging/sizing check box - mark it to enable the Easy Windows Dragging/Sizing Control Center tool. In the related group of controls you can define the combination of modifier keys which you must press to activate this tool.
Scroll inactive windows with the mouse wheel check box - mark it to enable the Scroll Inactive Windows Control Center tool. In the related group of controls you can specify, which modifier keys will be used to activate the tool.
Drag the mouse to scroll windows (Hand tool) check box - mark it to enable the Hand Control Center tool. In the related group of controls you can specify, which mouse button and which modifier keys will be used to activate the tool. Also, you can mark the Inverted check box to flip the direction of scrolling.
Scroll step spin edit - here you can alter the system setting, which defines how many lines will be scrolled for one mouse wheel's notch.


Relines are one of the most important things to consider with dentures. The can alleviate a lot of embarrassing issues as well as help you actually chew your food properly, not to mention the health benefits. How long since your last reline?
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Hearst Names Kliavkoff CEO Of Manilla; The Plan: Disrupt The Postal Service
David Kaplan Feb 28, 2011 - 2:45 PM CST
Hearst is unveiling the beta version of Manilla, a free personal account management service that lets consumers organize their bills, finances, travel rewards programs and, yes, magazine subscriptions, in one online spot. The company, named for "manila folders," will be headed by George Kliavkoff. While "billing and account management" might initially sound like an odd choice for a media company to get into, it does show how Hearst and other publishers are realizing that with the old models crumbling, areas that even lightly touch on existing businesses, like advertising and subscriptions, are pointing the way to new ones.
As CEO of Manilla, Kliavkoff will give up the title of EVP and Deputy Group Head of Hearst Entertainment & Syndication, a post he took when he left his role of chief digital officer of NBC Universal (NSDQ: CMCSA) back in Nov. 2008.
Manilla does seem like leap for Kliavkoff, who was considered one of the main executives who conceived and developed Hulu. But he began developing the idea shortly after arriving at Hearst in March 2009.
The genesis of Manilla began during brainstorming sessions among Kliavkoff and his team, who now also includes former Dish marketing exec Jessica Insalaco as CMO. "We talked about what areas are the most inefficient and the ones most ripe for disruption," Kliavkoff said. "That's where we started the idea of tackling junk mail. Essentially, we're challenging the US Postal Service's business."
In terms of measuring the space, businesses spend about $30- $35 billion a year in the U.S. mailing nearly 48 billion account notices, statements, offers and bills to their customers every year, Kliavkoff said citing USPS' stats. Despite trying for more than a decade to convert customers to paperless systems, just 11 percent of customers have opted to go paperless, InfoTrends Research.
So the premise behind Manilla is that if they can get customers to go paperless, they'll get paid. Plus, they'll be able to sell advertising and promotions — which ties it all back to the magazine business. Furthermore, it's not too dissimilar from what Hearst has already been doing with another subsidiary, CDS Global, a customer relationship management company that handles magazine subscriptions and renewals for Hearst and other major publishers.
For the launch, Citi Cards and Comcast will be the first companies to try out Manilla as a marketing platform.
The inclusion of marketing at Manilla's debut carries both the enormous potential and the risks that faces the startup.
Aware that Hearst was launching Manilla publicly today, Doxo CEO Steve Shivers reached out to discuss the challenges it faces. Doxo launched last year and also offers to organize consumers' billing accounts. "It's understandable that other businesses would get into this space," Shivers said. "Today, Hearst is the single largest subscription enrollment company. If they had a site to manage their magazine subscriptions, no one would care. But if they can use that to get people to pitch their magazine subscriptions, that makes sense for them. But I don't think that's what the businesses they serve want. They're going to be beholden to that agenda of ads and promotions."
Still, for many clients, the prospect of Hearst's large reach and the promise of promotional space might be attractive. But the success of Manilla will rest on whether it can appeal to consumers and prove to be a better alternative to paper. Time (NYSE: TWX) will tell.
Going over the site's offerings over the weekend, it is easy to see the appeal — it's uncluttered and it does allow one sign-on to access your bank account, utilities, cable bill (cable companies don't like to be lumped into the utilities category) and other payments. Even the ad placements are fairly unobtrusive and match with what page your on. For example, if you're on your personal banking page, you'll probably get a promotional ad for that bank (or a house ad, if your bank isn't a Manilla partner.
But even more than ads, Kliavkoff said that security is the main focus right now and will be. "We can't afford to have anything go wrong with security, so that is the most important thing to us right now," he said. "One of the reasons that the amount of people who have gone paperless is so low, is that they're concerned about security. That's the first thing we have to prove."
In terms of the business itself, Hearst is the 100 percent owner of Manilla, but down the road, other investors could come in. Kliavkoff wouldn't discuss future plans, but the door seems open, at least down the road to having additional hands in the business.
As for deciding to disrupt the US Postal Service as opposed to a more traditional media format like TV, newspapers, magazines, Kliavkoff described his new job as "a natural extension of what I've done" and a natural for what Hearst has been doing, especially in light of last year's acquisition of digital marketing firm iCrossing. "This is what the media business does these days, it's not just about publishing magazines, the role has become a lot larger than that," he said.
2 Responses to "Hearst Names Kliavkoff CEO Of Manilla; The Plan: Disrupt The Postal Service"
steve February 28, 2011
a monday comedy feature new at paidcontent?
seems to me george is/was also the driving farce behind hearst's lmk.com thing.
Ric February 28, 2011
Im flabbergasted! I love the Hearst audacity to think I am going to eagerly want to look at ads to pay my bills on some web portal where my data will get sold to the highest bidder by a greedy publisher! Not just no, but HELL NO.


I am a photojournalist and set photographer, originally from sunny and eternal Rome, Italy.
developer tray and I thought it was magical. At that time I was in love with the smell of film, the great beauty of my city and theater photography.
Then I became a professional nomad. I traveled for years to experience the world through photography, always hunting for natural light and candid moments. During those years I was constantly meeting people, finding unexpected moments and seeking adventure.
Now my home is in New York City where I love my work as freelancer.
organization that focuses on humanitarian reportage.
Other than photography, I am a tea lover, computer geek and bike enthusiast.


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Q: Azure Cognitive Services TTS custom lexicon isn't firing I am trying to apply a custom lexicon to the en-US voice just like in Azure's tutorial, here's my ssml.xml:
<speak xmlns="http://www.w3.org/2001/10/synthesis" xmlns:mstts="http://www.w3.org/2001/mstts" version="1.0" xml:lang="en-US">
    <voice name="en-US-JennyNeural">
        <lexicon uri="https://myproject.blob.core.windows.net/tts-lexica/en-US_lexicon.xml"/>
        Benigni, BTW,
    </voice>
</speak>

I have successfully uploaded my custom lexicon to blob storage. I have validated this by navigating to the specified URI in a browser. The raw looks like this (again, pretty much copied from the documentation):
<?xml version="1.0" encoding="UTF-8"?>
<lexicon version="1.0"
      xmlns="http://www.w3.org/2005/01/pronunciation-lexicon"
      xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
      xsi:schemaLocation="http://www.w3.org/2005/01/pronunciation-lexicon
        http://www.w3.org/TR/2007/CR-pronunciation-lexicon-20071212/pls.xsd"
      alphabet="ipa" xml:lang="en-US">
    <lexeme>
        <grapheme>BTW</grapheme>
        <alias>By blabla's way</alias>
    </lexeme>
    <lexeme>
        <grapheme> Benigni </grapheme>
        <phoneme> bɛˈniːnji</phoneme>
    </lexeme>
    <lexeme>
        <grapheme></grapheme>
        <alias>test emoji</alias>
    </lexeme>
</lexicon>

The problem is when I run my python script applying the ssml file, which in turn should apply the custom lexicon, the pronunciation changes are not picked up.
Input string:   "Benigni, BTW, "
Expected output: "Beninji, By blabla's way, test emoji"
Actual output:   "Benini, By the way, grinning face"
I know my python script and the ssml file are working, so the problem must be in the lexicon file. What am I missing?


South by Southwest kicks off this weekend, but if you're not going, Saturday is the Hideout's 20th annual South By Southwest Send-off Party, a concert and fundraiser featuring all eight bands representing Chicago at the festival. The party, launched by Hideout owners Tim and Katie Tuten in the late '90s, raises between $5,000 and $10,000 annually for Chicago musicians at South By Southwest. The venue's staff even hand-delivers the money to Texas.
Saturday's lineup is bonkers. The eight-hour day fest kicks off at 2 p.m. and spans genres from bluegrass to psych-rock to country-soul (really). Below are three highlights to catch before they head south.
Anchored by former members of Smith Westerns and Unknown Mortal Orchestra, this buzzy country-rock outfit hasn't even released an album yet. Still, its mournful, falsetto-laden single "No Woman" has spread across the Internet like sonic wildfire, and given the band's slot at Pitchfork Fest this summer, Saturday could be your last chance to see them at a manageable venue.
If you like your country-punk more grizzled, check out the Waco Brothers' 5 p.m. set. The longtime Chicago favorites are SXSW veterans (one member first played the festival in 1990), and with a new album of beer-soaked rollickers to pull from, they should mount a set spanning 20 years of Chicago alt-country.
And now for something completely different: Indianapolis siren Kristin Newborn, a.k.a. KO, layers melodic vocals and biting lyrics over her stock electric guitar loops—to hypnotic effect.
And that's not even half the lineup. Also performing Saturday are banjoist Al Scorch, Angel Olsen collaborators Lionlimb, and more. Throw in a craft beer and these recent springtime temps, and you're practically in Austin.


It appears the English voice actor of Beerus leaked information that Funimation is starting to record the English dub for Dragon Ball Super.
The English voice actor for Beerus, Jason Douglas, posted on Instagram an interesting photo of the character with the caption "He's awakened". It looks like a TV screen of Beerus is inside of a recording studio.
The interesting part is that Douglas has deleted the Instagram post, but Gojiitaaf managed to grab a screenshot of it. A deleted post usually means the public isn't supposed to know about something this early.
It's unlikely the recording is about a new Dragon Ball Z movie as one has not been announced/revealed yet. We do know Dragon Ball Super is being voice recorded in France and Toonami Asia is doing one too.
Not to mention the English version of the Dragon Ball Super manga will be out in May 2017. This is a sign that Western audiences might officially get to see the new TV series sometime next year.
Bear in mind, categorize this news as a rumor for know as Funimation have not announced anything yet. Hopefully they will make a big announcement on the English dub very soon.


Published at Thursday, April 18th, 2019 - 10:56 PM. 7 Wiring Diagram. By Georgette S. Saldana.
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Un produit de réaction est une substance résultant d'une réaction chimique.

Par exemple, lors de la combustion d'un composé comme le glucose (un sucre de formule C6H12O6), selon la réaction :

C6H12O6 + 6   6  + 6

l'eau () et le dioxyde de carbone sont des produits, alors que le glucose et le dioxygène sont des réactifs.

En synthèse chimique, où l'on cherche à obtenir un nouveau produit, on essaye de quantifier sa formation en déterminant le rendement chimique. Pour le passage à un stade de production industrielle, la recherche s'applique à améliorer ce taux par modification des conditions de réaction.

En plus du produit recherché, les réactions chimiques peuvent former des coproduits et des sous-produits.

Notes et références

Voir aussi
 Substrat (chimie)
 Substrat enzymatique
 Équilibre chimique

Réaction chimique
Génie chimique