As Certified American Clay Applicators & American Clay instructors, we provide services in the Greater Toronto Area (GTA), Ontario and Canada wide.
Our American Clay services cover the full range of American Clay's earthen plasters, colours and finishes as well as a variety of application techniques. We also install drywall, see our drywall services page.This enables us to give you a quote if you need it, based on the whole installation from studs to American Clay finish. Whether you select a 2-coat Traditional American Clay application, Dos Manos System, Lime Putty, or Enjarre Commercial Application, our team has the largest and most extensive range of application experience and training with these Green and Sustainable plasters in Ontario to date.
With over 120,000 square feet of American Clay Plaster experience Canada-wide, 'The Lime Plaster Co.' can provide exactly what you are looking for from an environmentally friendly and unique wall finish. Our services are available in the Greater Toronto Area as well as in Ontario and other provinces in Canada.
A detailed description of American Clay Plaster wall systems and their unique components, so you can understand and make an educated selection for your personal space.
An in-depth discussion & explanation of substrate requirements.
Colour sample sets provided to allow you to see the beauty of American Clay Plaster colour pigments in your personal space with your unique lighting. Custom colours and colour-matching are also available for a nominal fee to match a favourite paint colour and achieve a completely custom look for your project.
Discussion of preferred start dates and times for your project and measurements of desired areas/walls/rooms.
We understand that the reasons behind selecting an eco-friendly wall finish can go beyond that of an environmentally conscious and responsible decision. We have had clients in all over Canada who suffer from Chemical Sensitivities that can be aggravated by the number of toxins that exist in mainstream building materials. For those clients and any client for that matter, we can cater our services to provide a wall-system and installation that is 100% natural.
American Clay Plaster Custom sample boards (2' x 2') will be provided based on our discussions in Phase 1 which will show the unique colours and textural finish selected for each room.
A detailed cost estimate, time frame estimate and breakdown of the scope of work based on the measurements taken and details discussed in Phase 1.
Liaising with your General Contractor or Subcontractors with scheduling details, substrate preparation, and other important technical details so you don't have to worry.
Phase 1 involves the remediation of any minor issues that may exist with the substrate that is to receive American clay plaster system. (This includes any flakey paint, minor holes, peeling paper, etc.). After the substrate has been stabilized, it is thoroughly cleaned and treated with a weak solution of penetrating sealer where necessary. If the traditional system is to be used, a primer coat of American Clay Plaster sanded primer will be applied to all substrate area's, receiveing the American clay plaster.
Phase 2 involves the application of American Clay Plaster base coat material. Either American Clay Plaster Loma plaster or American clay plaster Enjarre. These can be finished in different ways depending on the desired finish.
Phase 3 involves the application of American Clay Plaster finish coat material. Either American clay Plaster Loma, Marittimo, Porcelina or Enjarre is applied and textured to your personal preference, providing a unique wall finish.
Clean up and touch ups.
A Post-Installation visit 6 months after your installation to ensure that you are fully satisfied with the application--specifically for clients with new construction as hairline cracks may surface during the settlement of your new home that may be fixed at this time. Wether you are located in the Greater Toronto Area or other part of Canada, our process and post warranty will apply.
Why Choose The Lime Plaster Co.?
You are choosing a professionally trained, certified & experienced team with over a decade's knowledge of the N.American and European plaster business.
We offer current & extensive knowledge of new materials, up-to-date practices and on-going communication with American Clay's corporate offices.
We have the proven ability and experience to organize your large scale project and meet time-sensitive deadlines.
We offer unique set of American Clay Plaster services such as repair batches, custom sample boards, and post-installation visits.
We provide a standard one-year satisfaction guarantee on all American Clay Plaster application projects.
The Lime Plaster Co. are fully insured and WSIB Compliant as per Toronto and Ontario regulations.
How to get started? The process is simple. Contact us via phone or e-mail to arrange a complimentary on-site consultation. With a real passion for natural plasters, we are true advocates of the American Clay Plaster product range and versatility. A natural, distinctive interior wall finish to enjoy for years to come.


You must have made your way here to the Fiesta Honda blog because you're exploring options for a brand new SUV! Well, you're in the right place because we're known for our car comparisons and today we're looking at two popular SUVs, the 2016 Honda CR-V in San Antonio and the 2016 Mazda CX-5! Which one do you think is the better choice?
That comparison just about settles it! The 2016 Honda CR-V in San Antonio is the better option for a new SUV. The CR-V has won more awards, has a 5-star crash safety rating and overall better features. Don't hesitate, stop by Fiesta Honda today for a test drive!


The Euro is upon us yet again and everybody's a football or Soccer fan.
First, it is important to understand that Genieo's Live Event feature streams real-time updates from ongoing events you follow, such as developing events on the news, Scores of sports matches, Stock Market information and more… And that is the power that set the entire occurrence in motion.
As those enticing Live Events began streaming into the unsuspecting employees' various devices… a goal here, a fowl there… the employees gradually began to display some very strange behavior. Everybody who's ever experience excitement creeping in bit by bit, knows what I'm talking about.
The first sign that something strange was going on appeared when miss A showed up with Soccer shoes (which actually matched colors with her dress perfectly) after Live Event informed her of the German team victory. Then it was Mr. B who showed up with an French jersey under his elegant summer shirt, followed closely by Mr. C who went apparently too far by coming to work wearing the Argentinean shorts (No, his legs were not clean shaven). And the rest didn't take long to join in.
Miss D, the venerable CEO, decided to put her foot down, and rounding up the lot of them, she broke into a fiery speech about work ethics etc., the effect of which was somewhat lost when her iPhone beeped in a Live Event with some exiting news about the Spanish game, sending her flamenco dancing on her own desk with the Spanish flag wrapped around her waist.
Coming out of it gracefully, Miss D decided on the most innovative course of action. After all, there's no winning by fighting against excitement, but there might be a way to control it.
"Hey!" Everybody cheered in one voice.
"However" she continued, surfing this wave of excitement like a pro, "although we may each follow different teams, we should all wear the same uniform, as it is appropriate for the winning Genieo team that we are".
"Yeah!!!" They all cheered once again and went dancing back to their posts, to continue in developing the next exciting Genieo feature, and naturally living happily ever after.
So you see, Genieo's Live Event does more than just bring you exciting news, it brings people together, makes them one big happy family, with each keeping to their own preferences.
Clever if you ask me. And Fun.


text:
'use strict';

const colors = require('ansi-colors');
const fs = require('fs-extra');
const gulp = require('gulp-help')(require('gulp'));
const log = require('fancy-log');
const {exec, getStderr} = require('../exec');

const yarnExecutable = 'npx yarn';

/**
 * Patches Web Animations API by wrapping its body into `install` function.
 * This gives us an option to call polyfill directly on the main window
 * or a friendly iframe.
 */
function patchWebAnimations() {
  // Copies web-animations-js into a new file that has an export.
  const patchedName = 'node_modules/web-animations-js/' +
      'web-animations.install.js';
  if (fs.existsSync(patchedName)) {
    return;
  }
  let file = fs.readFileSync(
      'node_modules/web-animations-js/' +
      'web-animations.min.js').toString();
  // Wrap the contents inside the install function.
  file = 'exports.installWebAnimations = function(window) {\n' +
      'var document = window.document;\n' +
      file + '\n' +
      '}\n';
  fs.writeFileSync(patchedName, file);
  if (!process.env.TRAVIS) {
    log(colors.green('Patched'), colors.cyan(patchedName));
  }
}

/**
 * Installs custom lint rules in build-system/eslint-rules to node_modules.
 */
function installCustomEslintRules() {
  const customRuleDir = 'build-system/eslint-rules';
  const customRuleName = 'eslint-plugin-amphtml-internal';
  exec(yarnExecutable + ' link', {'stdio': 'ignore', 'cwd': customRuleDir});
  exec(yarnExecutable + ' link ' + customRuleName, {'stdio': 'ignore'});
  if (!process.env.TRAVIS) {
    log(colors.green('Installed lint rules from'), colors.cyan(customRuleDir));
  }
}

/**
 * Does a yarn check on node_modules, and if it is outdated, runs yarn.
 */
function runYarnCheck() {
  const integrityCmd = yarnExecutable + ' check --integrity';
  if (getStderr(integrityCmd).trim() != '') {
    log(colors.yellow('WARNING:'), 'The packages in',
        colors.cyan('node_modules'), 'do not match',
        colors.cyan('package.json.'));
    const verifyTreeCmd = yarnExecutable + ' check --verify-tree';
    exec(verifyTreeCmd);
    log('Running', colors.cyan('yarn'), 'to update packages...');
    exec(yarnExecutable);
  } else {
    log(colors.green('All packages in'),
        colors.cyan('node_modules'), colors.green('are up to date.'));
  }
}

/**
 * Installs custom lint rules, updates node_modules (for local dev), and patches
 * web-animations-js if necessary.
 */
function updatePackages() {
  installCustomEslintRules();
  if (!process.env.TRAVIS) {
    runYarnCheck();
  }
  patchWebAnimations();
}

gulp.task(
    'update-packages',
    'Runs yarn if node_modules is out of date, and patches web-animations-js',
    updatePackages
);

redpajama_set_name: RedPajamaGithub


text:
COV Sparks
CovCast
Last-Minute Generosity Changes Teens' Lives at CHIC
Jul 31, 2018 By Stan Friedman3 Comments
17-year-old Arianna Veasy (left) and 15-year-old Serena Perkins (right) unexpectedly went to CHIC with JaLise Haney (center) from Common Grounds Covenant Church.
JACKSON, MS (July 31, 2018) – Two teenagers from Texas who were visiting their dad here for several weeks had never heard of CHIC and certainly never expected they would make a decision to follow Christ there.
But a local tragedy and generosity from across the Covenant led to a week that would change their lives at the triennial youth conference attended by 5,000 other students in Knoxville, Tennessee.
The youth, 15-year-old Serena Perkins and 17-year-old Arianna Veasy, had gotten to know JaLise Haney, who volunteers with Common Ground Covenant Church in Jackson, over the past three years. "We have a sort of mentoring relationship," Haney said.
No senior-high students currently attend her congregation, so Haney had volunteered to serve with the CHIC prayer team. She had never attended the event, and she figured this was a way she could learn more about it. She was set to fly to Knoxville and arrive early along with other members of the prayer team.
But when her friend was murdered, she stayed in Jackson to attend the funeral and play with the worship team. That meant she had to miss her flight and rent a car instead.
"I thought, 'If I have to rent a car, then maybe I could take these girls,'" Haney said. "I thought it would be a good way for us to spend time together."
Because the students could not afford the registration fees, Haney called Tim Ciccone, director of youth ministry for the denomination, to see if it might be possible to find funds to pay their registration.
She knew it was a long shot because of the late date. Any potential scholarship money had already been distributed. "I was willing to take a no, but I was unwilling not to ask," Haney said.
Ciccone put out a plea on Facebook for help. Within minutes, churches had offered to pay the registrations and provided $100 of spending for both teens.
"They had an amazing time," Haney said. "They were taking notes throughout the whole thing. They wanted to be engaged in the deeper things."
The teenagers had never seen anything like it, Haney said, adding, "For them to have references to their contemporary culture meant a lot."
Both students ultimately responded to a call to follow Christ and now want to be baptized, Haney said.
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Stan Friedman is the news and online editor for the Covenant Companion and is grateful for the opportunity to serve in a job that combines his newspaper and pastoral ministry experience. He has been to 15 Bruce Springsteen concerts in four cities and listened to "Thunder Road" an average of at least once a day for 41 years.
Author Archive Page
Donna Peterson says:
Aug 1, 2018 at 8:59 pm
Thank God for people who are willing to reach out and see where God takes them. Thanks to JaLise for being unwilling not to ask. Thanks to Tim for reaching out on Facebook to ask for the money needed to send these two teens to CHIC. Thanks to all those on Facebook who contributed to the request. Thanks to the Holy Spirit for working in the lives of so many and in the hearts of these two teens who responded to God's call. Praise be to God!
Meagan Gillan says:
Hooray for such openness to the Holy Spirit, JaLise! How grateful I am for women like you who *see* the younger women around you! Thank you for listening and responding. I too am inspired by your approach of being unwilling not to ask!
Everett Wilson says:
"I was willing to take a no, but I was unwilling not to ask," Haney said. That is a wonderful verification of Ecclesiastes 11:
"Sow your seed in the morning,
and at evening let your hands not be idle,
for you do not know which will succeed,
whether this or that,
or whether both will do equally well."
Now That CHIC Is Over, What's Next?
"Whether in a Longhouse or at a Powwow, Dance Is a Spiritual Act"
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redpajama_set_name: RedPajamaCommonCrawl


text:
🌱⚡The Plant with a Pulse ⚡🌱
We've Discovered Venus Fly Traps Have Magnetic Fields and It's a Big Deal
Good day fellow computerists! Wonderful to be here in your email. Before getting going,
🙌 A thank you - If you're one of the thousands of folks who shared your Out of Body Experience with me last week, I appreciate your generosity hugely and will respond to your voyage in short order!
🤯 A heads up - Stay tuned this week for just a mind-melter of an update to my Gateway Experience story.
Much of my childhood was spent deep in dialogue with a crew of non-sentient play pals. The top dogs in my pack of fixations were 1) Magnets and 2) Venus fly traps. Proximity to either dialed in many an afternoon fugue state. Lounging now, in the temperate solarium of mid-adulthood, I find myself peering back through time's foliage and wondering: why??
Sure, these earthly offerings exceeded the expectations of your garden-variety rock or plant. But both seemed to contain a potential far beyond their already-otherworldly capabilities. A magnet could be amplified to say, unhand an assailant of a weapon. If cultivated aggressively a Venus fly trap might consume far larger prey. For child me, these entities possessed dormant superpowers just waiting to be awoken.
And then I awoke this morning, to find that for the first time in history, a team of free spirits out of Switzerland have detected a magnetic signal in a plant. Using a highly sensitive magnetometer, an interdisciplinary team of researchers have measured signals from a Venus fly trap of up to .5 picotesla.
Beyond being a parade-worthy 'I Told You So' for champions of plant intelligence, the findings mark a new dawn for how we live in harmony with the green kingdom and this old planet of ours.
With that, kick back, throw on Plantasia and let's get into the electromagnetic weeds!
It All Starts With Biomagnetic Signals
AKA bioelectromagnetism is the amount of magnetic signal given off by a living thing. It's what the Swiss research team just measured. Biomagnetic signals originate from electrical fields generated by the physiological activity of a specific organ or tissue.
The electrical field is driven by 'Action Potentials', which is the difference between the resting and highest electric impulse of an entity in a given period of time. Where the line spikes at +30mV here - that's the impulse of a human brain neuron. So the Action Potential here is 100mV.
Someone just remembered they left the oven on.
One or many Action Potentials then contribute to a magnetic field.
So (for instance): A muscle contracts —> An electrical impulse is emitted —> An Action Potential hits —> An Electrical Field is generated —> A Magnetic Field is generated —> Both party together right on down the electromagnetic line.
Lots of things give off magnetic fields. Here's a comparative chart.
Some perspective on scale:
A toaster's magnetic field is 300,000 times more powerful than the human brain's field
The Earth's magnetic field is 2,000 times more powerful than a toaster's field
And a fridge magnet is 58 times more powerful than the Earth's field
That makes the signal we just detected from a Venus fly trap almost exactly a billion times weaker than a fridge magnet, and explains why plant signals have flown under our radar for so long.
In the 1960s though, a new class of magnetic field sensor showed up to the scene. It could detect weak biomagnetic fields - from a human brain and potentially even a plant. Behold…
The Superconducting Quantum Interference Device (SQUID)
The S700X SQUID Magnetometer from Cryogenic. Oh yes, she will be mine.
SQUIDs are sensitive magnetometers used to measure extremely subtle fluxes in the magnetic field. The hero feature of a SQUID is the Josephson junction. It's comprised of two super conductors separated by a super-thin insulating material, usually copper.
The device gets inserted into a -346 Fahrenheit bath (usually nitrogen or helium). This cools the SQUID down to superconducting temperatures. The bath sits in a led container, both of which also shield the SQUID from other magnetic fields which, in their ubiquity, are a real nuisance for detecting subtle magnetic field changes.
Any electrons passing through the junction demonstrate quantum interference, which then gets run through an algorithm and spits out a magnetic field reading.
The magneto-sensitivity of SQUIDs gives them extraordinary powers for recognizing the world around us. They represent the closest our technology has come to being psychic. The list of applications in defense, geophysics, space exploration and beyond is currently exploding with possibilities.
Outer-Rim Developments in Australia recently used a SQUID to measure ground surface electrical connectivity, successfully identifying a silver deposit 2 kilometers below the Earth's crust. It's the largest found anywhere ever, worth about $2 Billion.
The Shanghai Institute of Microsystem and Information Technology has developed a SQUID array that can detect a submarine magnetic field from an outlandish 6 kilometers away. It can also effectively time travel, identifying a submarine's magnetized particle 'wake' as much as 2 weeks after the fact.
And now, SQUIDs have initiated a potential quantum shift in our relationship with plants.
The Venus fly trap boasts three trigger hairs that serve as mechanosensors. When a prey insect touches a trigger hair, an Action Potential is generated and travels along both trap lobes. If a second touch-induced Action Potential is fired within 30 seconds, the energy stored in the open trap is released and the capture organ closes. This is the plant-insect equivalent of a repeat offender. Imprisonment ensues.
This electrical activity doesn't carry into the stalk of traps however, which allowed the researchers to isolate the lobe by slicing it from the rest of the plant. Biologically intact, it was then placed on to a sensor.
The size and biology of a plant cell pose all sorts of regional challenges for magnetic field sensing. To tackle the challenge,
• An unusually diverse team was pulled together from Johannes Gutenberg University Mainz (JGU), the Helmholtz Institute Mainz (HIM), the Biocenter of Julius-Maximilians-Universität of Würzburg (JMU), and the Physikalisch-Technische Bundesanstalt (PTB) in Berlin, Germany's national meteorology institute.
• Heat stimulation was used to trigger Action Potentials in the fly trap because thermal energy emits zero background noise.
• A custom sensor was built consisting of a vapor-filled glass cell that further suppressed noise.
• Additional sensors were placed around the room to differentiate any plant signals from environmental noise.
• An optically pumped magnetometer was used, as opposed to cryogenic cooling, which can be miniaturized and also prevents the plant matter from freezing. If SQUIDs are a Walkman, OPMs are the iPod Mini.
The readings returned pretty much identical results 4 times in a row.
The findings are as huge for biomagnetism in plants as they are for electro-physiology in general. We now have proof of a pathway for long-distance signal propagation between plant cells. It lifts the veil on a whole new world of plant communications we simply never knew was there.
Both signal a new era of understanding plant systems we are only just coming to grips with.
The report's introduction ponders, "in the future, magnetometry may be used to study long-distance electrical signaling in a variety of plant species, and to develop noninvasive diagnostics of plant stress and disease."
With the help of this current research, crops could be scanned for temperature shifts, chemical changes or pests without having to damage the plants themselves.
But that's tomorrow and we are unfortunately fastened to today.
To get a sense of the bigger picture, I spoke with Greg Crutsinger, Director of Applied Research at GeoAcuity. We spotlit his work in turning consumer drones into high-precision crop monitoring tools a few years ago. His efforts allow farmers to rapidly and repeatedly monitor the health of their plants from the sky, identifying which areas of land need more water or fertilizer.
Our conversation exhibited a common refrain. Before widespread application of this new sensory technology, our species needs to first open our minds to a hidden electromagnetic network. Greg explained,
"We're so biased by human eyes. Yesterday I was going through some of the microsatellites that are going to scan the earth with radar. We're looking at different wavelengths and how they can measure moisture in plants by how deep the radar penetrates into corn. I look at the world in different spectrums now and different scales. This is similar. It's just at this fine scale we haven't thought of yet."
Beyond the perceptual, there are daunting practical considerations. Lab settings provide a convenient vacuum where these almost-imperceptible magnetic fields can be measured without getting drowned out. Greg was clear about the challenges of packing up this gear and heading out into the world.
"Typically what we're thinking about when we're in plant magnetic spectrums is imagery and light. How are they interacting with wavelengths beyond the scope of the human eye. We can pretty easily use different sensors for that. The challenge is mechanical, trying to measure it, and understanding what it means at such a fine level."
Obstacles aside, new advances contain huge promise for understanding the staggering amount of data we've been looking past. "I have a drone that I just picked up from Best Buy and did a 3d model with over lunch. The potential is moving very quickly to miniaturize a lot of these capabilities," Greg mused hopefully. "As we advance the sensitivity of these tools and more people start using them and not just two labs in the world, I think they'll start becoming more commonplace in terms of adoption."
Perhaps our best next step is looking at how other species interact with these magnetic fields. Here's a deep-dive into cellular magnetoreception. "Plants and insects have co-evolved for millions of years," Greg reminded. "The trap is getting prey. But insects could leverage that to their own benefit as well. They're super sensitive and they have antenna. How might they cue in on the magnetic fields of the plant. It's just also something we have to pay attention to."
It's at once discouraging and hopeful, to consider the vastness of what we can't perceive. Perhaps human consciousness is not so much defined by knowing that we know but by acknowledging what we do not. Either way, it's a good day for plant nerds everywhere.
To skips rocks across the lake of our boundless potential on the reg,


Post the best jewels on battle.net here.
This LLD CS jav good or trash?
Doesn't seem like a good dupe to me.
If I could name jewelry, I would.
Eth War Javs should be imbued with a level 36 character.
FoH-Rage, My pride & joy.
Updated 6-15 New Gear Shots!
Tell me if you've seen better stats.


text:
Apoplophora spinosa är en kvalsterart som beskrevs av Sandór Mahunka 1987. Apoplophora spinosa ingår i släktet Apoplophora och familjen Mesoplophoridae. Inga underarter finns listade i Catalogue of Life.

Källor

Spindeldjur
spinosa

redpajama_set_name: RedPajamaWikipedia


I ordered items from three different companies on the same day, one of the companies being Gentlemans Emporium. I requested express delivery from all three companies. Only one of those orders arrived the next business day, the one from Gentlemans Emporium! This comes to me as no surprise; I've always been well-pleased with the products and service provided by Gentlemans Emporium. Keep up the good work; I'm happy to be your customer and recommend you whenever possible.
I like the hat - comfortable, cool and keeps the sun off my face and neck. I would suggest t hat the sweat band in front have a means of removal for laundry purposes.
Great to shop here, you seem to have w hat the older men like . Very good quality and very CLASSY. TGANK YOU, LADY'S + GENT'S. Hope to do more shopping with you soon.
The support staff with whom I communicated were extremely helpful, going beyond answering my questions with messages clearly designed to anticipate future questions & issues.
Great product... sizing fine. beautiful presentation.
Beautiful quality! Delighted with purchase.
This was the first time visiting your site and it was great. i found everything i was looking for and somethings i had never even thought about. When i called customer service the young man was very helpful and knowledgable.
Quality clothing, fast shipping, reasonable prices! Very happy with my overall transaction.
Excellence in all aspects!! great selection for STAGE appearances!!!!
Great experience nice to find all these hard to find items in one place at good prices.
I love shopping the Emporiums. Everything is easy to find. The prices are great and the quality is exceptional.
The "traditional" India helmet was the closest I could find to an actual pith helmet. I am satisfied with the purchase. It definitely provides the necessary protection, and cooling, from the "mid day sun".


Blackberries [Family: Rosaceae], native to United States and Europe, have been consumed and used medicinally for thousands of years. Our Blackberry Seed Oil is extracted by mechanical expeller pressing (cold pressing) of premium quality blackberry seeds without the use of any solvents or chemicals. It is not refined, deodorized, decolorized or otherwise treated in any way. The Blackberry Seed Oil is a natural source of tocopherols, tocotriencols and lutien. The oil is highly regarded for its its free radical scavenging properties making it an ideal ingredient in facial serums, lip balms, and eye creams and other skincare products.
Blackberry Seed Oil is a superior emollient oil that moisturized and nourishes the skin and leaves it feeling hydrated. The abundance of various antioxidants make Blackberry Seed Oil well suited for use in a wide array of cosmetic and skin care formulations intended for dry, damaged, maturing or sensitive skin. In hair care applications, Blackberry Seed Oil nourishes, conditions and treat split ends. Due to the presence of zeaxanthin and lutein, it supports the health of eye.


Dashing Collective, the creative visual effects studio that launched onto the scene earlier this year, introducing a streamlined approach that takes cues from live action production, is pleased to announce the hiring of EP Danielle Lyons and CG Supervisor Doug Law.
"We only hire the creative leads, the artists and supervisors that define the vision. The rest of the crew is made up of expert contractors tailored to the job at hand. It means we're able to do great work we aspire to with the level of finish our clients' demand," noted Founder and Creative Director Rob Moggach.
With more than 15 years of experience in live action production, Danielle Lyons understands Dashing's model and how it can meet the diverse and challenging needs of today's multi-platform landscape. Lyons has traveled extensively, shooting with top agencies and A-list directors and has worked on cutting-edge international work including spots for EA Sports, Nintendo and Bud Light as well as award-winning work for Mercedes-Benz and Hallmark. Producing for top directors with demanding creative clients means Lyons knows as much about how to manage a job as what a truly great visual is and should be. Her last three years were spent focusing on animation and VFX, giving her the know-how to collaborate with Moggach to deliver Dashing's message.
Doug Law was one of the first artists to use Maya (pre-release) and for 15 years worked at the front lines for software developer Autodesk as a figurehead touting new features and advancements as they were released. He has a unique perspective on CG production given his direct exposure to client needs worldwide at the best VFX studios. Law's depth of knowledge extends to every component of the software which means the creative team is learning new and more efficient workflows regardless of their individual discipline.
"I've always held the contention that a few artists equipped with the right tools can do more than much larger teams. Throwing more people at a problem is sometimes necessary but often the complexity of our work is only properly addressed by using a few carefully selected experts and giving them serious firepower to perform miracles," explains Moggach. "I'm excited to see the model prove itself after years of knowing it was the future. It's still early but I'm energized to be a part of a small independent team that's so galvanized with desire to produce great creative work."
Anchored by Founder and Creative Director Robert Moggach, Executive Producer Danielle Lyons and a select team of top digital artists and technicians, Dashing is tailor-made to handle projects with demanding creative or technical challenges and adapting to complex, cross-platform creative needs.
Dashing is a group of digital craftsmen, creative problem solvers, and technical innovators. The Toronto-based creative collective specializes in format-independent delivery of high-end, commercially motivated, moving, still and interactive imagery. The studio will focus on visual effects and also harbor capabilities that allow for unconventional cross-platform projects.


Randy Roark studied with Philip Whalen at Naropa Institute. In addition, for seventeen years he was Allen Ginsberg's assistant. His poetry collections include The San Francisco Notebook, One Night (with Anne Waldman), Hymns, Awakening Osiris and Mona Lisa's Veil: New and Selected Poems 1979-2001. He is also the author of Dissolve: Screenplays to the Films of Stan Brakhage.
Jeffrey Side: How did you come to be Allen Ginsberg's assistant at the Naropa Institute?
Randy Roark: In the late 1970s, I was living in a rural town in Connecticut, and I came across a magazine article about Naropa Institute. It said that Allen Ginsberg was accepting apprentices, and I applied, never expecting to get accepted. But I was, and flew out to Boulder, Colorado in November 1979, when I was 25 years old. I've written about that experience in an article published by the Naropa Bulletin in 1981 ('The Object Is to See Clearly'), and I'll post that article on my website, for anyone interested (www.randyroark.com).
At that time I had a severe falling out with the Naropa Poetics Department, and took off for several years. I returned in the late 1980s to get my MFA in Poetics and Prose from Naropa Institute, and began working with Allen on several projects. In 1991, Allen asked me to transcribe and edit an article on William Blake for the New Censorship magazine, and that led to a plan to transcribe all of his poetry lectures. I worked on that project from 1991 until he died in 1997, transcribing, editing, and annotating over 28,000 pages of his lectures. I also transcribed and edited the material used in the book that accompanied his 4CD set for Rhino Records, Holy Soul, Jelly Roll. By the time he died I had finished editing a manuscript from his work on William Blake's Songs of Innocence and Songs of Experience, which he never got a chance to finish, and had begun assembling material for a book chronicling his 1995 trip to China, including photographs, poems, and lecture transcriptions. After his death, I also edited a set called First Thought, Best Thought for Sounds True, an audio book publisher, including recordings of lectures by Ginsberg, William Burroughs, Anne Waldman, and Diane di Prima.
And the way Allen was interested in passing along those states of mind was through actually invoking them in his audience. And he found the best way to do that was through their breathing, which he had learned through his study of mantra and classic Tibetan Buddhist breathing techniques taught by Chogyam Trungpa Rinpoche. The idea is that when you are in an ecstatic state, or a meditative state, or a sad state, or whatever, that there is a precise and distinctive physiology to that state, and the way you can access that state most easily is through your breathing. In other words, if you are in a heightened state of any form—anger, regret, whatever—then you will naturally fall into that emotion's distinctive breathing pattern, and, of interest to poets, you will naturally write and speak in those rhythms also. And it works in the reverse as well—if you breathe in the form of the emotion, then that emotion will appear in you. This change in breathing will actually invoke a real experience in you of the emotion invoked—especially elevated states like joy and ecstasy and rage and despair. And that's why Allen was confused by so much poetry, because not only was it written without an understanding of these natural rhythms, so no actual emotion was invoked, but too often there was no emotion in the poem at all—or confused emotions. The poem Allen most often taught to beginners was Shelley's "Ode to the West Wind" because he found that reciting that poem in choral form with an entire class would make this connection between breath and state of mind obvious to everyone, depending on their state of participation. Those who really breathed the poem inevitably got high—or at least dizzy.
RR: I probably only have two stages of poetic development. The first was meeting the poet and teacher Sandy Taylor in Willimantic, Connecticut when I was 19 years old. I had dropped out of college the year previously, and Sandy was the first living poet I ever met. I was amazed to find someone else who wrote poetry! I audited Sandy's classes on Yeats, Eliot, and Frost. I can still remember how he came into the classroom one day and slammed a pile of books on the table and said, "Today I'm going to sell you on Yeats." Then he stood in the center of the room and mimed the events opening Yeats' 'Leda and the Swan'—"A sudden blow"—and he slapped his fist into his hand—"the … great … wings … beat … ing … still"—and he waved his arms above his head in rhythm to the words—"above the stag-ger-ing-girl," as he stumbled across the room. In that one moment, on a visceral level, I realized that poetry was more than just words on the page, but I had no idea and no skills on how to take it there.
Sandy was also a publisher and his Curbstone Press (with Judy Doyle) is still publishing international literature with political and, some would say, leftist concerns. He also introduced me to the social world of poets by hosting poets from other countries, working beside me in his basement with an old drum press printing broadsides and chapbooks, involving me in poetry readings and events, and hanging out with a young kid and answering his endless questions and talking "shop." It's funny, but the unpolitical poetry Sandy dismissed with contempt is probably the poetry I write now. And the poet he ridiculed most often as over-rated—Ezra Pound—became one my favorite writers.
The poetry I write now is almost completely written via cut-ups or the collage method, and that's certainly nothing I would have ever developed on my own. It started entering my work in 1980 or so, when I told Ted Berrigan that Dylan had composed the lyrics for "A Hard Rain's A-Gonna Fall" out of the first lines of songs he didn't think he'd have time to write, and Ted suggested I do that with my own work—to go through poems I didn't like, take out my favorite lines, and arbitrarily stitch them together. When I began working in this way, I immediately noticed a different voice in my poetry that I preferred to my own. It was also something that I could read in front of an audience with some sense of engagement, as if I were reading someone else's poem. I also remember being somewhat puzzled and disappointed when Gary Snyder mentioned that he used file cards to copy down orphan lines of poetry that occurred to him during the day, and then rifled through them later when he needed something for a poem. Now I have post-it notes all over my computer with stray lines to scan when I'm writing collaborative poems over the Internet. Philip Whalen taught how his most famous poem—"Sourdough Mountain Lookout"—wasn't really "a poem" at all, but the result of typing up his notebook one summer and realizing it was a kind of poem. And then once I "caught" Ted Berrigan making a poem out of someone else's words, and he taught me how to use someone else's words to create a poem that the original author wouldn't even recognize as their own words.
Seconds after agreeing to read as part of Tom's series, I started to panic—what was I going to read? I went through my work and found only one piece that I was interested in reading, which was a prose piece that I assembled out of a notebook I'd kept while I was traveling solo through Europe and Egypt from July 1990 through January 1991. Like Philip Whalen's "Sourdough Mountain Lookout," I typed up my notebooks when I got back, and one particular section was rather startling in the way it was arranged, solely by chance. Because I was more or less studying something particular at the time while moving through England and France, my notes looped and were interrupted and returned and re-returned to previous themes which, by the end, included the pre-Raphaelite painters and their models and wives, medieval lovers Heloise and Abelard, the Beatles and Beatlemania, and Dadaists Hugo Ball and Emmy Hennings. The problem I had was that most of it was written as private notes to myself about particular photographs and paintings, and so they didn't attempt to describe them, but only to note what I wanted to remember about them.
But one day while I was out running, I had an interesting thought. On a relief mission to Mante, Mexico, in October 1994, I had met a woman photographer who lived in Boulder and I wanted to spend more time with her. This might solve both problems! I could have her shoot slides of the paintings and photographs, and have them projected while I read. Luckily she said yes and luckily she already had a macro lens, because taking slides of paintings and photographs turned out to be a lot more complicated (and expensive) than I thought. At that first performance (of Ekphrasis and Cathexis, with Kai Sibley's slides), I also had Barbara Jean Slopey simultaneously translating the text into American Sign Language. It was like a three-ring circus with better art. Plus, it was the perfect speed and stimulation level for kids who'd grown up on MTV and McDonald's commercials. While the audience was looking at Kai's beautiful slides of beautiful paintings and photographs, and Barbara Jean was signing the words with gestures that visually painted the words as a flowing movement, I was sitting behind a music stand with a booklight in the shadows at the corner of the stage. I found that I really enjoyed hamming it up when I wasn't feeling dozens of eyes staring at me. I was certain this was what I was going to do for the rest of my life, and that's more or less been the case, although Kai and I amicably parted ways before the Cocteau performance, and the ones on Stan Brakhage and my travels through Turkey in 2003.
When this first performance was over, I wanted to spend more time than ever with this woman, and we began putting together and performing two dozen of these slide/text presentations over the next eight years. Some of them were constructed around original writing of mine, but most of them were designed as illustrated poetic lectures for various festivals and fund-raisers. We did one on the surrealists, two different ones on the Dadaists, one on the pre-revolutionary poets of Russia, one on Philip Whalen, one based on my notebooks as a student of Ginsberg, Snyder, Burroughs, Berrigan, etc, and ones on Lorca, Blake, Anne Waldman, and Cocteau. The one I like best—other than that first one (Ekphrasis and Cathexis)—was the only one where Kai shot the photos first, and I had to write the text to go with them. That was actually published, with about a dozen photographs, as "Hymns". That book ended up as a collaborative artwork, with the book design (by Amy Hayes), the photographs, and the poetry treated equally.
Part of the reason for my intense reaction was because I had to press my ear to tiny speaker to hear anything at all, but I remember each line ending with a bomb. He even said before he was through, "And anyway, I'm not alone." He was talking to an ex-girlfriend on the phone, and he's telling her he's already with the next one. This guy was a fiend! I was intrigued!
You can start to chart Dylan's transformative power with the political songs, which are unlike any other—"Only a Pawn in Their Game," for example, where he points the finger away from the man who pulled the trigger, and focuses it on the ones who benefited from and instigated the murder and explains why and how they did it. I heard Dylan sing "Masters of War" to a packed house at the Denver Coliseum on the weekend following the September 11th disaster, and each line of the song was so precise in its detail and clearly enunciated that the audience shouted out the truth of every line. "The Lonesome Death of Hattie Carroll" is constructed as tightly as any Dashiel Hammett novel—complete with a twist at the end. I can remember playing "Ballad of Hollis Brown" to my parents in an effort to get them to understand me—a story song that ends with an impoverished farmer shooting his family and himself because he can no longer face them starving a little bit more every day. And in "Who Killed Davey Moore" he enumerates the list of those who are really responsible when a fighter dies in the ring.
After reinventing protest music—making it smart and sophisticated—he began to deconstruct his own persona in public. He wrote a song about how everything he had said was wrong—"My Back Pages." He tore someone apart in "Like a Rolling Stone," only to admit years later that he lost the ability to write such songs because he came to understand that the person he was angry at was himself.
But the most important lasting contribution of Dylan's is, in my life, the objectification of certain mental states that I believe are at the root of what it is to be creative. The mind that can write "To live outside the law you must be honest," or "She knows there's no success like failure, and that failure's no success at all" is a mind that is living, and writing, in the presence of that mystery.
An interesting footnote to this story is that the second sounds I heard that night in the tent when I was ten, and the last before I lost the connection, were the thunderous opening notes of "(I Can't Get No) Satisfaction" and this guy screaming at me about how everything they had sold him on TV was empty and a lie. That started a different root desire in my life, a search for a combination of Keith Richards' rawness and Jagger's swagger.
JS: Yes, Dylan does seem to have a knack of writing songs that are forever relevant (your experience of his "Masters of War" at the Denver Coliseum being one of them) and which can provoke in the listener personal significance. He does this, I think, by not telling the listener the whole story. He leaves something for you to fill in—or personalise. Most mainstream contemporary "poets" would call this lazy writing, but I call it genius. And you are right—his songs contain gems of wisdom such as the ones you quote ("To live outside the law you must be honest"). This sort of thing is presumably frowned upon in contemporary poetic circles. But I think it is their loss. What mystifies me is when I see Dylan passed over for the Nobel Literature Prize, when a "poet" like Seamus Heaney (who basically writes descriptive prose) has been awarded it.
So, for the artist, the question becomes—if this response is important to you—how do you create it in art? It seems to be a radical redefinition or vision of what the artist and art is about. I know when I first began thinking of poetry as a career, I thought my job was to create a body of work that was distinctly mine—that it involved knowing things and experiencing them for others and then writing about them. But now it seems to be more about a state of mind that I can transmit to others once I learn how to attain it. In other words, when listening to Dylan's songs, what you actually experience is Dylan's mind moving—or, as Philip Whalen described it, "a graph of the mind moving." One of the few things I said to Allen Ginsberg about poetry that he found interesting was that sometimes I realized a thought I just had was the last line to a poem, and then I had to go back and precisely recreate the sequence of thoughts that led to it in order to capture the poem.
RR: Well, one example of what you're talking about would certainly be the changing sense of the word "blue" that he ends every chorus of in "Tangled Up in Blue." Dylan's ability to "open-out" the individual syllables of his lyrics is something that interested Allen Ginsberg as well, who knew his work primarily in performance, especially as one of the members of Dylan's Rolling Thunder Revue from 1975-1976. Allen often remarked on two important vocal qualities of Dylan's performances—the first was that Dylan always enunciated every letter very clearly in performance—snapping the t's at the end of a word, for instance, or elongating and delighting in the vowels inside of them. Allen thought this was the result of Dylan's awareness that his lyrics had to be understood by those in the back rows of the venue through all of the electricity. The second thing Ginsberg noticed night after night was that Dylan used the syllables themselves as something like a sail that he would fill with air, not so much concentrating on their meaning as on their sound, as a jazz musician might. He thought that was one way that Dylan kept himself interested in playing the same songs night after night.
JS: The way he sings the words "meet again" (like a cry from Hell or something) in the line, "We'll meet again someday on the avenue" from "Tangled up in Blue," for me, evokes a feeling of threat. It's as if the woman saying the line to him is really only voicing what Dylan (or the song's "protagonist") thinks of the situation himself anyway and that it is he, rather than she, who knows they will meet again someday. But turning from Dylan, now, I'd like to ask you about the Naropa Institute audio archive. You're currently in the process of rescuing it as it's in danger of audio degradation and disintegration. This must be a mammoth task. Can you tell us more about this project?
I haven't written anything much of my own since late July 2005, when a major relationship in my life ended, and something else ended for me as well, I'm not sure what. Since then, I have mostly been writing collaborations with poets such as Tree Bernstein, some of which were published as Away in 2005. I went through one intensive period of writing, from 2000 to 2003, where I wrote every night from 8 p.m. until I went to sleep, and that resulted in completing all of the projects I had envisioned up until that time, resulting in seven completed manuscripts––including rewriting the Norton Anthology of Poetry Volumes I and II; a book of "alternate maps of the world," including works exploring shamanism, alchemy, and dreams; and a collection of travel writings--that are sitting on my shelf, waiting for the right moment to publish them. When they begin getting published, I have a feeling my writing may also open up again. I've also written a book on the poet Louis Zukofsky that I promised to Elik Books several years ago, and the rough manuscript has sat on my desktop for almost two years now because I haven't found the will or desire necessary to spend the dozen or so hours to bring it to completion. I have a feeling that I'm waiting for something, I'm not sure what, to complete it. On some level, I feel like my major work has been written, and that takes a lot of heat and pressure off any need to write more. But in the past at some point I've always envisioned something that rises up from the darkness following a period of not writing anything much at all that appears as a complete surprise to me, and that may happen again, although when I'm "out" of writing it's hard to imagine a way back in. I've been thinking for a couple of years now about writing another alternate map of the universe, featuring the language and visions of mystics, but nothing much has happened on that yet. But a vision of what turned into A Map of the World, a book-length poem written in the voice and language of alchemy, literally waited for over two years before I began to write it, and then it was written in a very short period of time—in two writing sessions lasting, at most, eight days over a period of about four months. So, who knows?
My writing "career" has been marked by "retirements" such as these in the past. I go through some kind of personal crisis and my personality dissolves in some essential way, and at some point in the future my next writing phase becomes a way of entering into or creating a new relationship between myself and writing, of writing myself into back into being. I keep thinking about something that the poet Jack Spicer once said, that one day you write a poem out of a voice that you don't recognize as yours—usually out of a state of unknowing or crisis—of discovery—and then you sit back and look at it and think "this is something really different, this is a real poem;" and then you decide to write another poem in the same style and then another and each one has a little less charge than the one before it. This seems true to my experience. It's like opening a door and entering a dark room of mystery and discovery and I explore the room until I feel I come to understand it. And then there's an enervating phase where I feel used up in a way. Then I turn my back on what had once been so encompassing to me for a period of time and enter a long hallway where I don't know where I am or where I'm going until I come to another door and I feel at first that it's a kind of doorway out, and I explore it until I realize it's not a door out but rather just an entry into another room, and I go through the whole process again. I find the same process affects my studies as well—I'll become interested in a writer or musician or art movement and enter it and become obsessed with them for a period of time. And at some point, I instinctively realize that I'm done, and I lose all interest. This has happened with my studies of Thomas Pynchon and Louis Zukofsky, of myth, of Ezra Pound—where I actually went to study at his castle in Dorf Tirol, Italy, with his daughter and his ex-girlfriend, Olga Rudge—or James Joyce, where I went to Dublin and read all of his work and studied with his nephew—or Dylan or the Dadaists and Surrealists. My bookshelves are a graveyard of sorts of previous infatuations.
Jeffrey Side's publications include, Carrier of the Seed, Slimvol, Cyclones in High Northern Latitudes (with Jake Berry) and Outside Voices: An Email Correspondence (with Jake Berry).


Making a fateful decision, Arkie (John Hawkes) and Toni Jo (Jaime King) decide to buy a gun from some shady folk. Irving and director Tom Anton carefully designed a visual style that would "cool off" and desaturate the color palette as our heroine journeys deeper into darkness. This "flat" composition also accentuates the "dead end" aspect of the story.
This usage of composition contrasts the caged-in "flat-space" of Toni Jo's prison cell existence with the deep-space of the "free" world (complete with ray of sunshine). The production inherited the basic prison set from HAROLD AND KUMAR ESCAPE FROM GUANTANAMO BAY--although many modifications were, of course, made.
Lawyers Norman Anderson (Tim Guinee) and Clement Moss (Leigh Whannell) wait and hope for a miracle. The deep focus was achieved with a split-field diopter in front of the lens, with the edge disguised by the vertical line of the bookshelf curtain in the background.
During happier days, Toni Jo (Jaime King) and Cowboy (Jason Lewis) walk off into a sunny afternoon. Irving often likes to redefine the aspect ratio within the frame. In this case, the eye is directed to the square at the center of the wide screen.
The courtroom set used in THE PARDON was actually the Chamber of Commerce building in downtown Shreveport, Louisiana--brilliantly transformed by Production Designer Anne Stuhler and her art department.
Shooting a 1940's bar exterior at night. From left to right: Irving and director Tom Anton watch the assistant's monitor as 1st AC Lisbeth Storandt (center) keeps things in sharp focus. Camera Operator Jerry Lane sits behind the eyepiece.
Camera Operator Jerry Lane frames up another shot as 1st AC Lisbeth Storandt checks the focus distance.
Director Tom Anton strikes a triumphant pose alongside one of the productions many period vehicles.


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Join us in the month of November as we celebrate Diabetes Awareness Month! Project Blue November Kits are available for sale - Purchase a Kit!
This blue circle is the International symbol for Diabetes Awareness. "The blue circle signifies the unity of the global diabetes community in response to the diabetes pandemic."
Keep your eyes peeled this November to spot our blue circle around town as others join us for a photo to promote Diabetes Awareness Month. Don't forget to send us your photos wearing blue! We will post to Facebook!
Better Health Executive Director Amy Navejas and her daughter, Ella-Beal.


Our second GMO Free 2013 sponsor is Kelapo, a company that makes organic extra virgin coconut oil and many other great coconut products. We loved their coconut oil that we tried back in 2011. This time we're trying the Vegetarian Coconut Oil Soft Gels and the Organic Coconut Macaroons.
I prefer getting all my nutrients through food. Coconut oil is food. But I just can't tolerate eating a spoonful as is (and I don't like its grittiness in a smoothie). Why take coconut oil? Well, for starters, the celebrities know it's good for you. Not that I follow them, I'm the last person on earth to follow what they say. But anyway, coconut oil is great for overall health. It can do wonders for skin, nails, and hair. Not that I'm 29, those things can use a little help - my skin is starting to show its first signs of aging (gasp!) and since I am not a big fan of makeup - I want it to look good as is! It's great for the immune and digestive system. It's a good fat. Not a hydrogenated fat. Perhaps the only reason I shouldn't take it is because it is great for weight loss! I need to gain some weight.
The ingredients in the soft gels are pretty good, though I honestly would have preferred that there was no carrageenan or sorbitol, I don't see why either one is needed. There are 1,000 mg of coconut oil in each soft gel and it is recommended to take 4 daily. It costs $24.99 for a bottle of 120, a one month supply. Yes, it would be cheaper to just eat coconut oil by the spoonful, so you would be all set with some Kelapo coconut oil.
Healthy treats can be hard to find, so I love the Kelapo Coconut Macaroons ($14.99 for 8 pieces). Though they are a little too sweet for my taste, I like that there is no refined sugar. It's sweetened with organic agave and has seven 'real food' ingredients. They are very rich, one is more than enough for me to have in one sitting and I enjoyed it with some herbal tea. It's a nice occasional treat!
Win a set of Vegetarian Coconut Oil Soft Gels and 8 Coconut Macaroons during our GMO Free 2013 Giveaway which starts January 20th!
Thank you for this review! Id heard some time ago about how awesome coconut oil was and Ive been wanting to try it. Id really like to use it for my hair and nails and I know taking it in pill form is going to be the best way for me. All the info you gave was what I needed to know !


text:
Irmeli Jung, född 29 maj 1947 i Tammerfors, är en finländsk porträttfotograf.

Jung studerade till yrkesfotograf i Hannover på 1960-talet. Hon flyttade 1972 till Paris där hon sedan dess utfört sin huvudsakliga gärning främst som porträttfotograf. Hon har avporträtterat internationellt kända konstnärer och författare bland annat för tidskriften Le Monde. Av hennes kända inhemska modeller kan nämnas Tarja Halonen, Tove Jansson, Veijo Meri, Juhani Harri, Johanna Ehrnrooth, Magnus Lindberg och Kaija Saariaho. Hon har i regel strävat efter att avbilda sina modeller i deras vardagsmiljö.

Jung har ställt ut bland annat i Pompidoucentret i Paris. Hon har publicerat fotoböcker om filosofen E.M. Cioran (1989) och sångaren Juliette Gréco (1990). År 1994 undervisade hon vid franska statens fotoskola i Arles. År 2008 beviljades hon statens konstnärspension.

Källor

Finländska fotografer under 1900-talet
Födda 1947
Kvinnor
Levande personer
Personer från Tammerfors
Finländska fotografer under 2000-talet


Stage 3 of the Budapest-Bamako started in Ouarzazate, where you've already seen some pictures from and took us on a relatively short (in terms of distance) route Tafraoute. We decided to take it easy today and replace our broken tea pot in Tazenakht, which is famous for their hand-woven rugs. Of course, it's extremely cliché to buy one or meander along the shops, so we kept it to an absolute minumum. The town was crawling with race cars, would be interesting to know how many people decorated the interiour of their 4x4 with a new rug.
From Tazenakht, we wanted to enjoy the final day in the Atlas mountains and drove through rough terrain including icy roads in the snowy regions down to palm trees and hedges made from cactus. Luckily, everything is very dry this time a year, because there were many bridges swept away by rivers which are pretty much non-existent this time a year and thus made passage possible. We arrived in Tafraoute around 8pm, just in time to walk around the markets as they were closing down already.
© (2007 - 2019) Tim Repke – All rights reserved.


with helpful tips from our expert dog trainers.
Toilet training your new puppy doesn't have to be a stressful, messy – or indeed lengthy – affair. To help you and your puppy transition through house training with minimal fuss, we've put together our complete, no-fuss guide to toilet training your puppy.
Any kind of toilet training can be intimidating if you don't know what you're doing. When's best to start toilet training your puppy? What equipment will you need? What if you don't have a garden? The good news is, toilet training your new puppy doesn't have to be a stressful, messy – or indeed lengthy – affair. To help you and your puppy transition through house training with minimal fuss, we've put together our complete, no-fuss guide to toilet training your puppy, with helpful tips from our expert dog trainers.
Why is toilet training your puppy important?
What is the best age to toilet train your puppy?
According to Jen, puppies born into a litter will receive their very first toilet training lessons from their mother.
How long will it take to toilet train a new puppy?
The time it takes to train your puppy will vary and, according to Jenn, consistency is key.
"If you follow the steps in this guide, are patient and are consistent in your commands, then you should be able to toilet train your puppy by the time they are between four and six months old," she says. "It's good to give yourself time, so that you don't put extra pressure on yourself or your puppy," she adds.
Of course, sometimes things take longer. If your puppy was orphaned, for example, they will not have received the early guidance from their mother or litter pups, that facilitates toilet training, but this doesn't mean you won't be able to toilet train your puppy.
What will I need to buy to toilet train my new puppy?
It's important not to take your new puppy for walks until they have received their full set of vaccinations. In homes with gardens, therefore, the goal is to get your puppy to go to the toilet in a designated spot in your garden.
Feed your puppy at regular times and keep an eye on when they drink water. Small breeds of dogs have smaller bladders than large breeds, and will therefore need to empty their bladders more frequently.
Proactively take your puppy outside to the garden every half an hour to an hour, as well as immediately after playing or eating.
Take your puppy to the area you have assigned as the toilet spot, and say the words "Go Toilet" or "Toilet" to your puppy when you place them in the area. Be careful not to play with your puppy or give them any form of attention other than saying this command whilst they are in the designated toilet spot.
When they do go to the toilet, immediately praise your puppy, using a gentle tone. It's appropriate to give them a treat for successfully going to the toilet in the correct place.
Take your puppy back inside and ensure you clean the toilet area by removing any puppy poops!
If you don't have a patch of grass outside to use as your puppy's toilet, you will need to invest in an indoor dog toilet in order to toilet train your puppy. If you have a balcony or courtyard, you can position the toilet here, otherwise they are designed to be used indoors.
Proactively take your puppy to their indoor dog toilet every half an hour to an hour, as well as immediately after playing or eating.
Place your dog onto the dog toilet, pointing at the toileting area and say the words "Go Toilet" or "Toilet" to your puppy when you place them on the toilet. Be careful not to play with your puppy or give them any form of attention other than saying this command whilst they are in the designated toilet spot.
Take your puppy off the dog toilet.
Encourage your puppy if they show signs of sniffing the indoor dog toilet, but do not allow them to sleep on it or play with it.
"Reprimanding toileting accidents (whether they're caught in the act or not) can create anxiety for the puppy," says Jenn. "The puppy may associate the reprimand with the act of toileting, thus creating the puppy to hide from you when toileting. This can result in more accidents that you'll find later, as the puppy may now hide from you to toilet, and not want to toilet in front of you in fear of getting reprimanded again."
If you see your puppy have an accident, take them to the designated toilet spot – either outside in the garden or inside on a dog toilet – immediately. They may be part way through or complete, but it will still instil the message that this is the correct place to toilet.
Clean up the accident immediately, ideally using an enzymatic cleaner to eradicate all odours and ensure your puppy doesn't think it's OK to toilet in this place in the future.
You will have to leave your dog alone at some stage during their toilet training, but this is fine so long as you're prepared.
Don't forget to continue training your puppy at night – you can set an alarm to take your puppy out to toilet up to three times per night until they're old enough to hold it in until morning.
Uric acid crystals in dog urine can only be removed with an enzymatic cleaner so make sure you have a specially formulated cleaner to remove all traces of accidents in the early days.
Puppy pads are great for times when you leave your pet alone or at night. However, providing two places to go to the toilet when you are toilet training your puppy can introduce confusion.
You can download this guide and print as a handy guide to reference at home. Just click here to download your free printable guide to toilet training your puppy!
If you have questions about toilet training you can also book a one-hour puppy lesson with one of our dog trainers, held on site at our Dog Training Academies, or enquire about a home dog training lesson. Call 1300 426 762 or click here to book online.


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Symbolism Has Significance in Rituals: The Qiblah as an Example
The symbolism of the Ka`bah as the exclusive and permanent direction for Muslims in Salah was extremely important. Physical expression of feelings and emotions is a natural human tendency, because man has a material as well as a spiritual aspect besides his nature. Emotions and feelings are only fulfilled when expressed physically or tangibly; releasing one's happiness and satisfaction. This action brings about balance and harmony between the outer and inner aspects of the human soul, and provides a means of fulfilling man's desire to know what lies behind the apparent symbol and the outward physical form.
All Islamic religious rituals are based on this natural basis as mere intention expressed privately and abstract spiritual meditation are not enough to satisfy the requirements of religious worship. In this way, every movement and bodily action will have a religious significance attached to it bringing soul and body into full harmony. In those religious communities where this innate human craving for symbolism and physical expression and representation of religious devotion is misunderstood or abused, people have gone astray.
Idolatry and the worship of inanimate objects such as stones, trees, planets and stars, as well as animals and birds can be traced to such abuse and misunderstanding. Islam presents a unique straightforward concept of the nature of Allah Almighty Who is not anthropomorphic and Whose Attributes cannot be defined or represented in physical form.
Nevertheless, physical means or symbols, such as the qiblah, that point man's senses, heart, soul and body towards Allah, are important. Allah cannot be restricted by the confines of space, but man needs the dimension of space to direct and concentrate his devotion and feelings towards Allah. Hence, the important need for the qiblah arises. Once that principle was understood, it was necessary for the new direction in Salah, qiblah, to be unique and exclusive to Islam in order to underline Islam's distinction and eminence.
Muslims' Rituals: Uniqueness or Bigotry?
A corollary of this principle says that Muslims are specifically forbidden to emulate or adopt other, non-Muslim, religious and cultural customs. However, it would be wrong to put this down to bigotry or prejudice on the part of Islam, since outward religious and social behaviour is a reflection of the inner beliefs and ideals that motivate and determine behaviour and outlook. These beliefs and ideals are the main factors that distinguish between different nations, outlooks, ethical systems, moral values and ways of life. Abu Hurayrah narrated that the Prophet (peace and blessings be upon him) said: "The Jews and the Christians do not dye their hair. So, adopt a different line." (Al-Bukhari and Muslim)
He was also reported to have told a group of his Companions who stood up to greet him: "Do not be like other communities who stand up in reverence to one another." (Abu Dawud and Ibn Majah)
He also said: "Do not revere me in the same way the Christians revered Jesus, son of Mary. I am a mere servant of Allah. So, refer to me as Allah's Servant and Messenger." (Al-Bukhari)
Prophet Muhammad (peace and blessings be upon him) strongly advised his followers against imitating non-Muslims in appearance, dress, manners, etiquette and behaviour; as behind all these outward aspects lie the emotions and conviction that shape man's outlook, character and way of life.
More importantly, the Prophet (peace and blessings be upon him) strongly rules out the adoption of ideas and concepts not emanating from, or reconcilable with, the world order Allah has commissioned the Muslim community to promote and establish. The Prophet warns against defeatism and feelings of inferiority among the Muslims who, being selected to lead mankind, should derive their values, traditions and the basis of faith from the original source of their religion; Allah Almighty.
The Muslim Community Among Others
The Qur'an describes the Muslim community variously as the leading community, a consummately upright nation and a paradigm of moderation. This special acclaim is only conferred upon them only because they draw their philosophy, outlook, traditions and way of life from Allah's revelation.
It is not out of religious bigotry and intolerance that Islam presents itself to the world as a universal and most complete way of life. Islam sees itself as a unifying force in the world, because it advocates unity of all mankind under one God-given social, political and economic way of life. It offers equality to all and does not recognize or advance the interests of one group at the expense of others.
Today, Muslims are called to understand the significance of having their own exclusive qiblah. It is not merely a direction to which they turn in their Salah, nor is it an empty symbol. It is a feature that distinguishes Islam's aims, concerns, identity and its whole outlook on life.
Islamic Identity
Muslims today, more than any other time in their history, need to assert their identity. They need to set themselves apart in the world which is suffering under the tyranny of false religions, oppressive and arrogant ideologies, flawed political and economic systems and heedless leadership. They have to offer new and effective remedies to save mankind and fulfil Allah's will, so that the world will acknowledge their community as the central and righteous nation commissioned by Allah to carry His Message to all mankind.
Islam is a complete way of life through which Muslims become fit to inherit Allah's trust and the leadership of mankind and to stand witness before Him for all humanity. However, it is only when they adhere faithfully to Islam that they take on their distinctive and unique features and qualities without which they lose their way, and their influence and status in the world diminish and evaporate.
*By Sayed Qutb, Translated By Adil Salahi
This article has been taken with modifications from the author's book In The Shade of The Qur'an.
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Just over 21 years ago, I wrote an article for New Scientist entitled 'Can science come back to Islam?' (23 October 1980). I was simply articulating a question that was on the lips of many Muslim scientists and scholars. The beginning of the 1980s, with OPEC power at its peak, the Iranian revolution and a
No Punishment, If No Harm
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Dark Places by Gillian Flynn
Author: Gillian Flynn
Publisher: Shaye Areheart Books
Blurb (GR): I have a meanness inside me, real as an organ.
Libby Day was seven when her mother and two sisters were murdered in "The Satan Sacrifice of Kinnakee, Kansas." As her family lay dying, little Libby fled their tiny farmhouse into the freezing January snow. She lost some fingers and toes, but she survived–and famously testified that her fifteen-year-old brother, Ben, was the killer. Twenty-five years later, Ben sits in prison, and troubled Libby lives off the dregs of a trust created by well-wishers who've long forgotten her.
The Kill Club is a macabre secret society obsessed with notorious crimes. When they locate Libby and pump her for details–proof they hope may free Ben–Libby hatches a plan to profit off her tragic history. For a fee, she'll reconnect with the players from that night and report her findings to the club . . . and maybe she'll admit her testimony wasn't so solid after all.
As Libby's search takes her from shabby Missouri strip clubs to abandoned Oklahoma tourist towns, the narrative flashes back to January 2, 1985. The events of that day are relayed through the eyes of Libby's doomed family members–including Ben, a loner whose rage over his shiftless father and their failing farm have driven him into a disturbing friendship with the new girl in town. Piece by piece, the unimaginable truth emerges, and Libby finds herself right back where she started–on the run from a killer.
Seriously, what goes on in Gillian Flynn's head? She writes the freakiest stuff. Sharp Objects was nasty enough, and Dark Places is just as vile. Luckily for her, I (along with millions of people) like vile now and then.
Libby Day is a sole survivor of a horrendous massacre. Her mother and two sisters were brutally killed one winter night and, mostly thanks to Libby's testimony, the murders were attributed to Libby's older brother Ben, an alleged active Satan worshiper. Now, almost 25 years later, 32-year old Libby is out of money that had been donated to her by well-wishers over the years and must look for a new source of income. She settles on helping the Kill Club (a group of obsessed women who believe in Ben's innocence) to re-investigate the murders, for money of course. As Libby starts talking to various people involved in the original investigation at the Kill Club's request, her strong belief in Ben's guilt starts wavering...
I am fairly certain now that Gillian Flynn's "schtick" is writing about VERY BAD women. We are presented with an array of them in Dark Places - they lie to get attention, they abuse, they blackmail, they mooch, they kill, they are weak and pathetic. It is, no doubt, a novel approach to women empowerment. If women are equal to men, they can be equally despicable, right? The men are no better - they are good-for-nothing losers mostly. What I am getting at is that you can hardly find any likable characters in this book, which for many readers is a must (not me though).
The story itself is gruesome. Prepare yourself for brutal killings, molestation, bullying, Satan worshiping, drugs and underage sex. Some parts are so tough to read, I had to put the book aside for awhile.
But underneath the filth, there is a great mystery - well-paced, suspenseful, full of red herrings, it keeps you guessing until the very last moment who the perpetrator is.
Just like Sharp Objects, this book is absolutely not for everybody. But I thoroughly enjoyed this freaky thriller and will wait with anticipation for the release of Gillian Flynn's next macabre mystery.
Post-Apoc/Dystopia
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Publisher: Viking Adult
Setting: Chicago
Setting: Hawaii
Setting: Ireland
Setting: Maryland
Setting: South Africa
Setting: Sweden
Setting: Texas
The Year Of The Classics


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The 12 Very Best Docuseries on Netflix Right Now
netflix › the best docuseries on netflix
Docuseries have no doubt become one of the most bingeable genres. With the best one, the compelling combination of jaw-dropping facts and human narrative grips you and doesn't let go. But there's more to Netflix's docu-section than Tiger King and the true crime it's notorious for. From explorations of modern society to archival explorations of the past, we present the top 5 docuseries streaming on Netflix right now.
College Behind Bars
This documentary from Ken Burns is a selection of stories from prisoners enrolled in a competitive college program. Many of the prisoners are in maximum-security facilities, some for serious crimes.
Seeing their difficult imprisonment conditions, the struggles they come from, and yet their incredible determination to excel in their education - it's all such a humbling and emotional affair.
Go to Netflix
Immigration Nation
For three years, the makers of this docuseries gained in-depth access to ICE and other government agencies to document the current state of the U.S. immigration system.
Immigration Nation looks at how ICE functions from within, but it also focuses on the human toll of its methods. When a migrant freezes to death, an officer calls his distraught father to notify him. It quickly becomes apparent that the officer is using the same call to try to establish if the father is in the U.S. legally or if he should be deported.
The show also makes an important point of noting that the harshness of the U.S. immigration system didn't start with the current administration. "Prevention through deterrence" Clinton-era policies, for example, forced migrants towards desert routes, killing around 10,000 people from dehydration.
Rating: TV-MA
The Keepers
With true crime hitting an all-time high, and Making a Murderer making millions, here comes Netflix's The Keepers. However, while the two shows share a common genre and general tone of voice, The Keepers is a much more interesting show. For one, it focuses on the victims and their stories, instead of the grisly perpetrators. Second, it trades cliffhangers for substance without compromising on breathtaking twists and revelations. Across seven taut episodes, it meticulously examines the unsolved murder of Catherine Cesnik, a Baltimore nun in 1969, who is suspected of being murdered to cover up sexual abuse at the Catholic high school she taught at. Adroitly edited, beautifully shot, and featuring great music by Blake Neely, The Keepers unfolds a horrific tale and emphatically captures the pain still lingering on five decades later.
Genre: Crime, Documentary, Mystery
Actor: Abbie Schaub, Gemma Hoskins, Jean Hargadon Wehner, Tom Nugent, Virginia Anzengruber
Director: Ryan White
Flint Town
Since the 1960s, Flint, Michigan, has experienced a series of shocks. When General Motors downsized their workforce by several 10.000, the town's population nearly halved. Unsurprisingly, it later became known for being one of the most dangerous cities in the US and for off-the-charts crime statistics. Since 2014, Flint again rose to tragic fame for a public health emergency due to contamination of its local water supply. Flint Town homes in on this perpetual state of crisis through the eyes of the local police department, who had to grapple with this dire scenario, while losing more funding year over year due to the city's deteriorating financial situation. The few officers that are left for policing are at breaking point. The result is a gripping and rich docuseries with a host of strong characters. But it is also a brutal and sobering account of the extent to which an American city is being allowed to fail.
Genre: Action & Adventure, Crime, Documentary
Actor: James Tolbert, Karen Weaver, Wayne Suttles
Director: Drea Cooper, Jessica Dimmock, Zackary Canepari
There are only 20 seats in Formula 1 each year, meaning that drivers are not only racing to win but to be kept on the roster. With the big stars, Ferrari and Mercedes, habitually shrouded in secrecy, Formula 1: Drive to Survive focuses more on the back of the grid. Lewis Hamilton, the five-time world champion, is rarely seen, for example, giving more room for other stories to unfold, including that of Günther Steiner, the Italian team principal of the Haas Formula One Team. That is not to say there are no big reveals. Even if you think Formula 1 is a decadent, testosterone-driven sports for rich Europeans, Drive to Survive might be welcome crash course into what makes this sport so appealing for many and might also have the potential to change your mind. If not, it is still a very well-made, slick, and engaging docuseries that will have enthusiasts and newcomers thoroughly entertained.
Actor: Charles Leclerc
Rating: N/A
Produced by Ezra Klein's Vox Media, an explanatory news site with liberal leanings, this may well be Netflix's first successful attempt at a traditional weekly television show. And a news show at that. But as the title suggests, Explained doesn't aim at updating you on current events, but takes short but in-depth looks at topics that tend to get overlooked in news cycles such as the racial wealth gap, monogamy, and the rise of cryptocurrencies. The idea is not unique. The only thing YouTube might have more of than make-up advice videos are explanatory monologues by self-declared Illuminati. However, those familiar with Vox Media's previous outings on YouTube know to expect high production value, serious research, and digestible visual journalism at its best. Don't watch it with your special uncle, though because he will start yelling at the television.
While this perspective on competitive sports is obviously unconventional, it makes perfect sense. Winners are boring. If you win, you win. The losers, however, have defeat to deal with. As the proverb goes, you learn little from victory, but a great deal from defeat. Director and creator of the show's amazing animation, Mickey Duzyj, was inspired by a personal experience during a tennis tournament as a teenager. Each episode of this 2019 Netflix show tells a different story from a different sport. For starters, episode one looks at Michael Bentt, a world champion boxer who was forced into the sport by his abusive father. So, things do get dark, as could be expected, the storytelling is complex, but the message of Losers is as simple as it is wholesome. Like the characters and life stories it portrays, this show will pick you up when you are down!
Actor: Mauro Prosperi, Michael Bentt, Surya Bonaly
Director: Lissette Feliciano
Evil Genius
There is footage and coverage to prove that the pizza bomber story actually happened but watching Evil Genius: The True Story of America's Most Diabolical Bank Heist everything is so intriguing it is almost impossible to believe. A pizza-delivery guy shows up to rob a bank with what he says is a bomb secured around his neck, something that he claims is part of a treasure hunt. By robbing the bank, he will unlock the next set of clues that will allow him to defuse the bomb. Bank tellers comply but on the way out he is suddenly arrested by the police, who doubt his claims, handcuff him and keep him at a distance. The device he has around his neck then starts beeping. What follows is one of the most unusual investigations ever led by security forces, brilliantly framed by executive producers Duplass brothers. A perfect follow-up to their other amazing True-crime Netflix collaboration, Wild Wild Country, it's a tight 4-episodes that is equally terrifying and intriguing.
Director: Barbara Schroeder, Trey Borzillieri
I can't think of a good reason why this review shouldn't just be two words: David Attenborough. With a voice that makes you wish every other voice in your life was the same, the star of Planet Earth teamed up with Netflix to make this new nature show. It took four years to film, and it bounces countless times between continents in every episode. It's rich, vivid, and oh so beautiful. So they just made another Planet Earth? Not exactly. Our Planet has a much stronger environmental message. It's not a line here and there about the negative impact we've had on the planet - it's the theme behind the whole show. It's frank, sad, but always, always, stunning.
Actor: David Attenborough
The Pharmacist
We call it a Netflix true crime documentary, but, in fact, this compelling four-parter is much more than that. It homes in on the fate of an immensely empathetic, soft-spoken, and likable family man, who loses his teenage son to drug-related violence in New Orleans' notorious Lower 9th Ward in 1999. With corruption rampant in the city's police department, he takes matters into his own hands and investigates his son's murder by himself. In doing so, main protagonist Dan Schneider notices a rise in opioid prescriptions from one doctor in particular. Fueled by a relentless determination to protect other children from addiction, he quits his job and begins gathering evidence against this doctor and, by extension, the company responsible for the sale of the notorious opioid-based painkiller Oxycodone: Purdue Pharma. In the course of his investigation, Schneider records all his findings, evidence, and intimate thoughts on audio and video. This sense of immediacy and the pretty breathtaking twists of his story make this Netflix production rise above other true crime formats. It uses the power and charisma of one individual to come to grips with a crisis of global proportions.
Genre: Crime, Documentary
Director: Jenner Furst, Julia Willoughby Nason


Joe's Pizza is a nice little pizza restaurant near Dingxi MRT Station. They have one size for their pizzas -- I think it's 10". One pizza is enough to satisfy one person. I ate two of their pizzas in one sitting on one of my visits, it was a little too much for me, so I sticked to one after that. The prices are nice: a range of NT$165-270, with most being on the cheaper side. They also have lasagna and penne gratin. I didn't like their lasagna at all, and feel it's very safe to say that their gratin wouldn't be good either, so I highly recommend staying within their pizza selection on their menu. They also have the popular Jim & Dad's Ales, as well as other beer, soda, Calpis, juice, and tea to go along with your pizza.
They use a kiln oven to cook their pizza. They don't skimp on ingredients and make some yummy pizza. I didn't dislike any of their pizza. My two favorite pizzas of theirs were: Spicy Pepper Sausage (NT$185) and Spicy Beef with Egg (NT$270). Their crust is quality. Not all their pizza choices have tomato sauce, so if you want a pizza with tomato sauce, ask them which pizzas come with it. The staff speaks English well, so don't worry. They make some good dessert pizza, too. All my Caucasian and Asian friends enjoyed their pizza.
Vegetarian options: They have 5 pizza choices that are marked with a green icon on their menu: Smoked Cheese (NT$165), Four Cheese with Egg (NT$165), Potato & Nuts (NT$175), Mushroom & Asparagus (NT$175), and Vegetable Hawaiian (NT$175). Their two dessert pizzas are also vegetarian: Apple Cinnamon (NT$175) and Caramel Banana (NT$175).
If you have eaten at Joe's Pizza before, what is your review?
Juan Hermosillo demonstrates his pizza spinning skills. He has won many World Pizza Spinning Championships.


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AFI frontman Davey Havok on Donald Trump: 'We need to provide escape from these sad and oppressive times'
Andrew Trendell May 22, 2017 3:21 pm BST
'To provide shelter for those who feel alienated is really fantastic'
AFI frontman Davey Havok has spoken out about the need to provide 'shelter and escape' for their fans in the 'sad and oppressive times' of living in Donald Trump's America. Watch our video interview with Havok above.
Speaking to NME around their recent London show with Deftones, Havok told us that it is important that they use their music to tend to the alienated in the currently divisive atmosphere in the US.
"To provide some kind of shelter, especially in the modern climate, especially in America right now, for those who feel alienated and marginalised is really fantastic," Havok told NME. "We recently did a tour and a lot of people said that coming to the shows gave them a feeling of connection and a feeling of escape from a really oppressive climate right now.
"Though specifically in regards to that climate, it's not anything that we've ever directly attempted – but in the greater ethos of what we do, to provide that sort of shelter or release is something that I hope we could achieve, and to achieve that at a very, very sad time makes it that more impactful and that more gratifying."
Havok added: "It's nice that we can do that. I don't know how we do that, but it's really nice."
AFI's Davey Havok
Havok also spoke to NME about how came to form new band Dreamcar with members of No Doubt – responding to deny claims that he 'replaced Gwen Stefani'.
"When the leak came out and the news came out as what it was which is 'there's a new band featuring members of AFI and No Doubt' to 'there's a new band with me replacing Gwen in No Doubt', it was pretty funny! It's not frustrating.
"I understand the media and I understand the public so it's not shocking that people would twist things in that way and misunderstand things. People misunderstand far more basic and far more convoluted things, so misunderstandings are rampant. It was pretty funny."
'Dreamcar' by Dreamcar is out now
A$AP Rocky Credit: Rex
A$AP Rocky cancels upcoming European tour dates due to Sweden arrest
Frank Iero And The Patience perform onstage supporting Taking Back Sunday, at The Limelight on February 11, 2017 in Belfast, United Kingdom Credit: Carrie Davenport/Redferns
Watch Frank Iero parody Joe Jonas' claim that My Chemical Romance are reuniting
Metallica's James Hetfield performs live Credit: Getty
Metallica are publishing a children's book, 'The ABCs of Metallica'


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