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ART QUIPS
"Freeform 5" at Elga Wimmer PCC, New York, October 7-November 18, 2017
Posted by David Gibson on October 17, 2017
SANDRA GOTTLIEB
Idiosyncrasy is the hallmark of the creative individual, who not only refuses to be limited by critical bias or historical convention, but remains devoted to the idea that drove them in the first place, no matter where it first originated. One can see in the artists of Free Form Five, curated by D. Dominick Lombardi, a dedication to the rigor of their craft. One is easily drawn toward their individual aesthetic world views, which in a group format, proves a strong impulse constantly evading easy definition. Each of the artists participating in this exhibition has a long established practice of maintaining a level of order that evolves their vision and simultaneously critiques a main convention of art. New histories emerge from their work to qualify and inform future generations.
As a photographer who chooses to eschew the human as a subject, Sandra Gottlieb turns instead to nature though not in any decorative or pedestrian fashion. Her relationship to nature as a photographic medium finds easy access to wonder via an openness to chance and to the powerful forms that present themselves in oceanic tides or smoke swirling up from a fire. Her current series, represented here by a narrative of four images arranged sequentially, presents her 2016 series "Cloud Studies" which first occurred while the artist was witnessing a sunset in Rockaway Beach of her native borough of Queens. The cloud forms swirled up spontaneously, altering her immediate view and suggesting something darkly beautiful and quite moving that she needed to document. This singular event precipitated a sequence of new images numbering into the hundreds. When I say 'clouds at sunset' perhaps a multitude of images flip through your mind, or perhaps one event sticks in your memory. They may all be wrong. After witnessing Gottlieb's photographs you will have a different understanding of sunsets, clouds, and everything in between. What is important to know about these image is that the event that dictated them took place not in any recognizable local, but in the same nexus where she took her image of waves, a spot some few hundred yards off the coast of Rockaway Park, New York, which is situated on the landmass of Long Island some twenty one miles from Manhattan, and her view is southerly, meaning that the use of light in the late part of the day is illuminated from the right, where the sun sets more than twenty miles to the west. This may produce an eerie scene, in which every degree of available light becomes as much the subject as the event or element in question. The range of expression in these photographs can be apollonian or stygian depending upon how the clouds swirl, some still containing sustained light from the far-off sunset, while above them darkness descends, creating an narrative moment of epic proportion.
SHARON KAGAN
Sharon Kagan's paintings possess a shared power of beauty and ambivalence. They achieve a strong impression despite a mixed agenda mired as deeply in the artist's biases against other métiers as for her own discipline. Her work reinforces the idea that to be creatively successful one must have an attitude verging on ideology. Kagan plays with forms and with layers of perception but she also plays with our expectations, and our tangent comfort in how esthetic event must please us in an unordered fashion. Starting with generically organic forms suggested by documenting such materials as bunches of twine in semi-darkness using a digital camera, Kagan blows the image up and emphasizes the obscure sections by adding an allover grid and then meticulously delineating and drawing into the folds of the forms themselves. This creates images that are quantum in nature, both expansive and reductive depending upon the visual level at which they are perceived. Either take in a painting that measures two by ten feet, or swoop down into crevices, or into the moody background, where modulated and quantified markings inhabit as well as measure the space in and around her writhing or knot-like forms. One cannot remain ignorant of the why as well as the how in her paintings, which exist as evidence of the complexity of a perspective on form, on reality, and on the power of the creative impulse to manifest in a layered and ontologically diverse manner a reality that many may easily take for granted.
BOBBIE MOLINE-KRAMER
The impulse toward abstraction and the one toward realistic depiction seem mutually opposed, yet the paintings of Bobbie Moline-Kramer commingle these agendas to radical effect. Who in their right mind, when gazing at an abstract painting, would ever imagine, much less encounter the painting gazing back at them, perhaps even laughing? This is the sort of event which Moline-Kramer suggests, not merely a diffusion of painterly effects, but a visual dialogue toward the supposition of an actual presence. In almost every other form of creative endeavor considered 'culture' there is a degree of countenance—performers on a stage, despite the vaunted fourth wall, often find themselves peering into the eyes of the audience's faces closest to them; in film we gaze upon the actors, taking them in as representative embodiments of our own lives. Only in some art, that is to say the great expanse of "abstract art" that stands for progress in creative vision over the interval of the last century, are we presented with an absence of necessary countenance. We are expected to realize and appreciate the boundary and enjoinder represented by the painted image that does not reflect us except in some obscure fashion. Yet we are sometimes found wanting. This is where Moline-Kramer steps up.
REBECA CALDERON PITTMAN
The difference between reality and abstraction is like that between wakefulness and dreaming. Perception defines the first while context defines the latter. The paintings of Rebeca Calderon Pittman present the best case for bringing both together. Her works have a draftsmanlike quality that refuses to connect all the dots in a useful and sensible manner, instead creating an elliptical reality in which they viewer may either make a range of subtle connections or choose to allow the ambiguity of the work's apparent formlessness to produce visions. Why these objects in this specific combination? Is their specificity a means of implying the strong presence of sensible and practical objects rather than transforming them into symbols? Is the world of the senses so unreliable? Pittman constructs a labyrinthine degree of encounter in which the viewer must define each step as they match elements one to another, or build mental bridges between delineated and blank spaces.
SUSAN SOMMER
The paintings of Susan Sommer give the outward appearance of being mere gestural abstraction, yet there is more than meets the eye. Placed around the picture, almost haphazardly, are a number of color squares that look like they escaped from a grid in another painting. In truth, they are a further dimension of phenomena that are encountered in Sommer's painterly visualizations of how the natural environment appeals to our senses, chromatic and sensuous, fleeting and dynamic, intimate and all encompassing. Her paintings seek to create an effect by which the viewer becomes completely immersed in a weld of sensation, where intuition leads the intellect against its will. If there is another artist she could be compared to, it is Corot, whose paintings of rural life were not only narrative in an elysian fashion, but explored the matter of nature as it shaped and colored these lives. Somer is involved in just such an adventure. Her works reveal the hidden color structure within all things, allowing us to walk in field and forests of our own imagining.
Artists follow the ideal embodied by the concept of form, but in each case idiosyncrasy takes over and form achieves something eminently unique. Each of the artists presented in D. Dominick Lombardi's curated exhibition "Freeform 5" are adept in their respective dialogues with form and where it meets not only with the audience perceiving it, but with their shared epoch. "Freeform 5" is a powerful statement on the duties of form to achieve and accrue meaning for our time.
THE BUSHWICK BIENNIAL | Review by David Gibson
The constant flowering of bohemia is not a construct of advertising, nor of the whims of a dozen infamous gallerists. It is the generational engine of youth culture, alive and well, striving at the border of the mainstream, throwing out its various statements while at the same time contributing to a community that has registered a similar creative echo for at least 25 years.
Bushwick is the locus of new creative energies, the same ones that are active in many other parts of Brooklyn, especially its neighboring wards of Williamsburg and Greenpoint. This year saw the emergence of its first official celebration, The Bushwick Biennial, brainchild of NURTUREart gallery director Benjamin Evans, in collaboration with Austin Thomas of Pocket Utopia, Chris Harding of English Kills, and Jill McDermid of Grace Exhibition Space. I first heard Ben utter these two words over a year ago, and since then he has worked hard to make it a reality. As the director of NURTUREart, he has seen first-hand what…
Unica Zürn at the Drawing Center | Preview by Jill Conner
In 2006 the Halle Saint-Pierre of Paris exhibited over 100 drawings and watercolors by Unica Zürn, reviving her vast collection of work as an overlooked extension of Art Brut. Zürn was known, initially, as the wife of Surrealist artist Hans Bellmer and spent much of her life reeling from tragedies that tore at the core of her own identity. Born in Berlin, Germany on July 6, 1916 after the start of World War I, Zürn became the embodiment of Berlin Modern, the Weimer society of the Post World War I era, that flourished and crumbled, attracting artists and writers from different countries while the larger populace was torn asunder by the economic fall-out generated by war reparations.
In 1929 when Zürn was thirteen years old, her family's house, situated in Berlin-Grunewald, was auctioned off with all of its furnishings intact, signifying the loss of her family's middle class status. Not very long after, she and members of her family became involved with the National Socialist Party. …
Theme images by Veronica Olson


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Fear of Content
Future Institutions
12.9.2016, 17.00–18.00
Panel discussion with Chris Dercon and Krist Gruijthuijsen, moderated by Armen Avanessian, in English
In conjunction with the Young Curators Workshop Post-contemporary Art
In conjunction with the 6th Young Curators Workshop Post-contemporary Art, conceived by Armen Avanessian, the Berlin Biennale is pleased to present a series of discussions surrounding a new time complex that marks the end of the enduring linearity between past, present, and future. In today's post-contemporary conditions—being constructed by financial capitalism as well as social media, the military, artificial intelligence, and big data—the present is operationalized as risk or contingency; that is by a relation to the future.
Contemporary art has been the art of its time, bound to the capitalist present in which it took place. Under the paradigm of the post-contemporary, what are the characteristics of art and its production conditions? Three events within the framework of the Young Curators Workshop will be dedicated to each temporality. Past, present, and future will be analyzed in regard to their changed conditions, questioning the possible social role and function of (post-)contemporary art.
The event Future Institutions is aimed at the new direction of our speculative period. The future happens before the present, time arrives from the future. Together with Chris Dercon and Krist Gruijthuijsen, whose work as directors of the Volksbühne and KW Institute for Contemporary Art will decisively shape Berlin's cultural life in the years ahead, Armen Avanessian will investigate possible strategies for long-term, sustainable institutional models. How can an institution represent the contemporary when planning procedures demand several months or even years? What is to be prioritized when designing and implementing a vision? How can we draft urgent discourses for the future?
This year's Young Curators Workshop is conceived by Armen Avanessian and organized by Maurin Dietrich, Krisztina Hunya, and Valerie Amend.
The Young Curators Workshop Post-contemporary Art is a cooperation between Allianz Cultural Foundation, BMW Group, ifa (Institut für Auslandsbeziehungen), and the 9th Berlin Biennale for Contemporary Art. The participation of one French curator is made possible in conjunction with the program Jeunes Commissaires of the Bureau des arts plastiques of the Institut français Germany.
The Berlin Biennale for Contemporary Art is organized by KW Institute for Contemporary Art and funded by the Kulturstiftung des Bundes (German Federal Cultural Foundation).
Ticket 5 €
Tickets are available at the ticket desk at Akademie der Künste, The Feuerle Collection, KW Institute for Contemporary Art, and online here.
Image: the present is shaped by the future from The Time-Complex. Postcontemporary, drawing by Andreas Töpfer, 2016, salon.io/vektorbarock
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The Berlin Biennale is organized by KW Institute for Contemporary Art and funded by the Kulturstiftung des Bundes (German Federal Cultural Foundation).

redpajama_set_name: RedPajamaCommonCrawl


Can a housewife from Wasilla, Alaska prevail in a libel case against the liberal New York Times in front of a Federal Judge appointed by Democratic president Bill Clinton in overwhelmingly Democratic New York?
The answer may be known on Monday July 31st when Federal Judge Jed Rakoff listens to lawyers for both Sarah Palin and The New York Times as they file their legal briefs on the case. Judge Rakoff advised he will consider dismissal on that day.
In summary, Palin has taken legal action for defamation against the newspaper for an editorial they ran in which it is alleged that the paper unfairly connected Palin to inciting the tragic shooting of then congresswoman Gabby Giffords and others .
There has been a wealth of opinion as to the chances of Palin's claim succeeding, with a consensus that the historical precedence is against her. But there is a substantial body of opinion that the Times editorial was so egregious (in short, the Times accused Palin of committing a crime, one that endangered the lives and safety of innocent people) that the odds are not insurmountable.
On the face of it, this seems a David versus Goliath situation, with Palin and her legal team facing the massive resources of the New York Times. Palin is without a deep pocketed backer like the one Hulk Hogan had with Peter Thiel in his case against Gawker.
The further question is whether the weight of the establishment's 'paper of record', the venue, and the leanings of a Democratic appointed judge are so great, that Palin's strong case sees the scales of justice tipped against her?
Just days before the next court appearance, it was reported that Palin's legal team has served notice that she plans to subpoena "twenty-three non-party current and former Times reporters, editors and other employees." The implications of this move are massive.
This serves notice to the Times that all of their internal correspondence regarding Palin, including every negative comment about her that could show overt prejudice, would be open to public scrutiny. Such an opening of the books might be at a minimum, embarrassing.
Aside from their bias toward Palin, who knows what other internal machinations might surface. Perhaps attitudes toward now President Trump and his election campaign might be revealed.
The stakes are clearly very high for the Times, and if Judge Rakoff allows the plea to go to a jury trial, the risk is that other hidden agendas held by The Times might become unveiled in discovery. In such a circumstance, there could be immense pressure for the paper to pursue a private settlement.
David defeated Goliath with only a slingshot, but that was in single combat and on neutral ground. On the merits of this case, Palin seems to have a fighting chance, but will the field of combat be level? One usually leans toward trusting the impartiality of the judiciary, but in this present climate where judges in Hawaii are seen to challenge Supreme Court rulings on a blatant partisan basis, Palin is facing headwinds.
She has faced obstacles in the past and beaten the odds. We shall soon see whether she can do so again.


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Learn how to identify the clergy robes in art analysis
How to identify the regular clergy robes.
In the history of Art there are often representations of saints, martyrs and clergymen of the regular clergy. One of the ways of identifying the characters represented is through the clergy robes .
Let 's look at the robes of the principal Orders in this text of Yolanda Silva, from the online course Iconography of the Saints.
Contains an explanatory video.
The Regular Clergy
The regular clergy (from the Latin «regula»: rule) follow a given rule imposed by a religious order. Within their order, they also have their own hierarchy and titles but, unlike the secular clergy, they do not live among the laity, but in their own spaces, like monasteries, convents and abbeys.
Saint Teresa of Ávila, painting of Janet McKenzie.
Inside of the religious orders, we can find four types:
– Monastic – monks and nuns who live in solitude, in monasteries located in remote areas, on the outskirts of the cities and villages (e.g. the Benedictines, the Carthusians, the Poor Clares, the Cistercians);
– Mendicant friars and nuns – they live in convents inside the city limits and keep a more active apostolate among the laity, through works of charity, surviving on donations and pledging to live in poverty (e.g.: Augustinians, Carmelites, Dominicans, Franciscans);
– Canons Regular – formed exclusively for canons (like the order of the Canons Regular of St. Augustine and the Premonstratensians or Order of Canons Regular of Prémontré);
– Clerics Regular (formerly Clerks Regular) – these don't live so enclosed as monks and friars, and are more oriented to a community life among the laity. They participate, often, of the activities of the secular clergy, as the liturgy, education and the administration of the sacraments (e.g. Crosier, Jesuits, Theatines).
The Regular clergy robes
The habits of most Orders reflect their vows, demonstrating modest but worthy costumes, much in the image of the humble of their time. Thus, the clergy robes are of great simplicity, varying in cut and shape, according to the order to which the person belongs, and consisting mostly of a scapular and a hood.
Let's analyze briefly the clergy robes of the main religious orders:
– the Benedictines – also called the black monks, because they wore a black wool habit, their vestment had long sleeves and a hood and they wore shoes and socks;
-the Cistercians – the habit was the same as that of the Benedictines, initially in brown. The order eventually switched to white or grey with a brown scapular and then evolved to a white habit with black scapular;
– the Carthusians – their first habits were made of coarse fabric and a shirt of esparto (a bush used to make ropes and mats), but today they dress white twill;
-the Augustinians – the Augustinian Hermits friars wore grey; the Canons Regular of St. Augustine used on black cassock and a hood; the Canons Regular (founded by St. Norbert) wore white; the Gilbertins (founded by St. Gilbert) wore a black habit with a white cover; the Regular Canons of St. Anthony the Abbot wore a black habit with a white tau-shaped cross (Τ or τ); and, finally, the Canons Regular of the Holy Trinity or Trinitarian friars had a white habit, with a blue and red cross, a hood and a black cockle hat;
– the Franciscans (Orders of Friars Minor) – their habit was grey, but with time they started using brown. They also have a hood and they use a belt made of rope with three knots (symbolizing their three vows: poverty, chastity and obedience). Generally, they are barefoot or wearing sandals;
– the Capuchin Friars Minor (derived from the Franciscans) – they dress like the Franciscans, though the hood is longer, walk barefoot or nearly barefoot, and are bearded;
– the Dominicans (Order of preachers) – their habits are of white wool, with a white hood and a black cape. Until the 13th century they wore the rochet, but it was replaced by the scapular (in black);
– the Carmelites (Brothers of our Lady of Mount Carmel) – mendicant order whose vestments also evolved: originally, they wore a belted tunic, scapular and a black, brown or grey hood; the cover had black and white vertical stripes. Today, the Carmelites use a brown habit with a white cover;
– the Jesuits (the Society of Jesus) – they began to use the same vestments as the secular priests from Spain at the time of their foundation: the black cassock with a black cap or hat. The only imposition they had was showing humility in their attire, thus honouring their vow of poverty.
Learn more about art analysis
Formal and symbolic analysis in art – 2 courses package: art analysis + iconography
Analysing Art
Iconography of the Saints


Franchise Asia is scheduled from July 18 to 22 at the SMX Mall of Asia. With dozens of activities, 700+ brands and over 52,000 visitors, here's a guide to help you navigate the weeklong Franchise Asia activities.
Keynote speakers include Department of Trade and Industry Secretary Ramon Lopez, international speakers from the US, Malaysia and Singapore, digital transformation experts, finance and operations practitioners. Over 1,000 delegates from over a dozen countries are expected to attend. The Franchise Asia Conference is the perfect venue to learn from both experts and fellow colleagues in the franchise industry.
TIP: Franchise Asia is open to all MSMEs, not just franchisors. Delegates from outside Metro Manila get 50 percent off on their registration rates.
With over 700 local and international brands participating, Franchise Asia gives you the ability to talk to the key franchises in the industry and select from among the best franchise brands both locally and internationally.
This year boasts an even bigger expo area with a food park, regional pavilions and an innovation hub at the second floor. Catch the newest and most exciting food brands from around the country and visit various innovation pavilions with the latest in digital technology, branding, store designs, locations and logistics.
TIP: Various prizes and freebies are given away at the food park and innovation hub.
Franchise experts and professionals will guide you through the franchise process and give you a step-by-step guide on how to transform your business into a franchise.
TIP: Make sure to book a slot for a free consultation with a franchise consultant after the seminar.
TIP: There are limited meeting slots, so make sure you pre-register to secure meetings with the brands you're interested in!
The Franchise Asia International Conference is happening on July 18 & 19 and will be followed by the International Franchise Expo on Jul 20 to 22 at SMX Mall of Asia. It is organized by the Philippine Franchise Association and co-presented by BPI Family Ka-Negosyo & PLDT SME Nation For more information, visit https://franchiseasiaph.com, or contact the Philippine Franchise Association at (+632) 579-4841 or 0999-8833732.


What are unproductive meetings costing your Company in time – money – energy – frustration – burnout?
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Contract law is developed by the parliament of UK to assure fair and standard performance by parties. For this aspect, standard norms are described by legislation which is mandatory for compliance for all parties. In addition to this, contracting parties are not in the position to contradict these terms by insertion of expressed terms. Present study is based on evaluation of provisions of contractual obligations within their social, practical and economic contexts to determine their impact on consumer and commercial transactions. By considering these legal provisions, case issue of Rose and Sunny Hols Ltd will be answered. For this aspect, ILAC approach will be applied. For justifying recommendations in given situations previous cases will be considered.
On her complaint, management of hotel had pointed out the exclusion clause in brochure that "Company or their employees will not be obliged in any case for dissimilarities contained through information, representation or description provided in brochure".
Delivery: Seller is required to provide satisfactory services as per the description in the deed of the contract. Description of delivery will be considered as per the expressed terms inserted by the parties.
Quality of goods: In accordance with the Supply of Goods and Services Act 1982, seller is required to provide qualitative delivery to the customers. Further, it must resemble the description provided by them.
In accordance with the provisions of Supply of Goods and Services Act 1982, traders are required to provide services as per the proper standard of the workmanship. In addition to this, if there is absence of specific date then it must be completed in a reasonable time and charges. In addition to this, material goods used to provide services should be of satisfactory quality. Failure of compliance of these contractual obligations will be considered as a breach of contract. Consequently, customers will be entitled to redress in necessary situations in civil courts.
In accordance with the case decision of Director General of Fair Trading v First National Bank  UKHL 52 House of Lords, good faith is not an artificial or technical concept. It is because; this approach considers merely commercial morality and practice[ McKendrick, E., 2012. Contract Law; Text, Cases, and Materials. Oxford University Press.]. This case lays down only a composite test by considering substance and formation of the contract. Furthermore, concept of fair dealing states that supplier must not (whether unconsciously or deliberately) take advantage of customer's lack of experience, indigence, necessity, weak bargaining position and unfamiliarity with the subject matter of the contract. In any of such situation exclusion will not be considered valid[ Elaw resources. 2016. Statutory implied terms - The Sale of Goods Act 1979 and the Supply of Goods and Services Act 1982.
Regulation of this UTCCR 1998 states that if an exclusion clause is said to be unfair then it will not be considered as a part of the contract. Further, the rest of the contract will be valid and effective for the contractual obligation. By considering this aspect, it can be said that the invalidity of exclusion clause is not equivalent to the invalidity of the entire contract. Henceforth, contracting parties will be required to accomplish their performance without considering unfair terms.Remedies for the breach of contractual obligations.
Contractual law had described provisions for remedy for the innocent party to compensate their injury if satisfactory performance is not provided by the contracting party. Remedies for the breach of contractual obligations are described on the basis of bifurcation of contractual terms.
Conditions are the most important terms of the contract to be performed by the parties. If conditions of the contract are not satisfied, then innocent party are in the position to repudiate entire contract and further they can sue faulty party for the claim of damages. In the case of Poussard v Spiers (1876)[ 1 QBD 410], employee had breached the conditions of the contract due to which she was replaced as employer had terminated his contract. In this case, court had held that conduct of employer is justified because breach of condition is referred to the breach of contract.
Warranties are the minor terms of the contract as it does not link to its central existence. If contracting party is not able to satisfy warranties of the contract, then aggrieved party can only claim damages but they are not in the position to terminate the entire contract. According to the case precedent of Bettini v Gye 1876, employee had breach the warranty of contract and her employer had terminated the contract. In this case, court of law had stated that breach of warranties do not provide entitlement to the innocent party to end the contract as they have only right to make claim damages.
Approach of innominate term has been developed from the case of Hong Kong Fir Shipping v Kawasaki Kisen Kaisha. In accordance with this case, innominate approach should be considered for breach instead of classification of terms in conditions and warranties. In accordance with this approach, innocent party will be entitled for the breach of entire contract only if they are substantially deprived from the entire benefit.
In accordance with the given case scenario, it can be said that contractual obligations of hotel has provided satisfactory services to the customers in accordance with the description provided in brochure. In addition to this, they are not entitled to exclude their liability regarding the terms which will contradict the fundamental rights of the customers. Provisions of Supply of Goods and Service Act 1982 states that seller is required to deliver the services in accordance with the description provided at the time of sale.
By the applicability of above described provisions it can be said that exclusion clause inserted by hotel management is not valid. It is because, it is contradictory to implied terms described under SGSA. This aspect is also supported by case decision of Director General of Fair Trading v First National Bank. It is because; management of hotel had taken benefit of weak bargaining position of the customers. Justification of this statement is obligation in dissimilarities in actual services and standard services in brochure is excluded by the insertion of exclusion clause which is completely unfair to the customers[ Zoll, F., 2012. The binding power of the contract: Protection of performance in the system of the Common European Sales Law. Journal of International Trade Law and Policy.Insertion of such terms reduces their right to claim damages in situation where they are not satisfied with the provided services of the organization. On the basis of this aspect, exclusion clause inserted by hotel will not be considered as a part of the contract.
In accordance with the regulation 8 of Unfair Terms in Consumer Contracts Regulations 1999 contract between parties will be continued for completing the performance. Case facts of the provided scenario show that there is a breach of warranty on the part of management of hotel as they fail to provide services in accordance with the description given in brochure. However, Rose is not entitled to terminate entire contract on the basis of breach of warranties.
As per the described legal provisions, it can be said that Rose is entitled to claim for the compensation for the non-satisfactory performance on the part of management of hotel. However, compensation of entire return is not justified as ancillary terms were not satisfied. On the basis of provisions of Unfair Terms in Consumer Contracts Regulations 1999 exclusion clause inserted by hotel in contractual deed will not be considered valid because it is in contradiction with the legal provisions. Thus, management of hotel is not in the position to take benefit of that clause for reducing their contractual obligation.
Clarkson, K.W., 2010. Business law. Text and Cases: Legal. Cengage learning.
Lando, O., 2003. Principles of European contract law. Kulwer law international.
McKendrick, E., 2012. Contract Law; Text, Cases, and Materials. Oxford University Press.


The Eleventh International Conference on Open Repositories, OR2016, will be held on June 13th-16th, 2016in Dublin, Ireland. The organizers are pleased to issue this call for contributions to the program.
As previous Open Repositories have demonstrated, the use of digital repositories to manage research, scholarly and cultural information is well established and increasingly mature. Entering our second decade, we have an opportunity to reflect on where we've been and, more importantly, where we're heading. New development continues apace, and we've reached the time when many organizations are exploring expansive connections with larger processes both inside and outside traditional boundaries. Open Repositories 2016 will explore how our rich collections and infrastructure are now an inherent part of contemporary scholarship and research and how they have expanded to touch many aspects of our academic and cultural enterprises.
* how we can organize to better support these - and other - infrastructures.
We welcome proposals on these ideas, but also on the theoretical, practical, technical, organizational or administrative topics related to digital repositories. Submissions that demonstrate original and repository-related work outside of these themes will be considered, but preference will be given to submissions which address them. We are particularly interested in the following themes.
* Reuse and analysis of content.
We expect that proposals for papers or panels will be two to four-pages (see below for optional Proposal Templates). Abstracts of accepted papers and panels will be made available through the conference's web site, and later they and associated materials will be made available in an open repository. In general, sessions will have three papers; panels may take an entire session or may be combined with a paper. Relevant papers unsuccessful in the main track will be considered for inclusion, as appropriate, as an Interest Group presentation, poster or 24/7.
The opportunity to engage with and learn more about the work of relevant communities of interest is a key element of Open Repositories. One to two page proposals are invited for presentations or panels that focus on the work of such communities, traditionally DSpace, EPrints, Fedora, and Invenio, describing novel experiences or developments in the construction and use of repositories involving issues specific to these technical platforms. Further information about applications for additional Interest Groups and guidance on submissions will be forthcoming.
24x7 presentations are 7 minute presentations comprising no more than 24 slides. Proposals for 24x7 presentations should be one to two-pages. Similar to Pecha Kuchas or Lightning Talks, these 24x7 presentations will be grouped into blocks based on conference themes, with each block followed by a moderated discussion / question and answer session involving the audience and whole block of presenters. This format will provide conference goers with a fast-paced survey of like work across many institutions, and presenters the chance to disseminate their work in more depth and context than a traditional poster.
One block of 24x7's at OR2016 will revolve around "repository raves": brief exposés that celebrate particular practice and processes, and highlight what the repository community is doing that is right. The top proposals will be incorporated into a track meant to celebrate successful approaches to repository services.
We invite one-page proposals for posters that showcase current work. Attendees will view and discuss your work during the poster reception.
Each year a significant proportion of the delegates at Open Repositories are software developers who work on repository software or related services. OR2016 will feature a Developer Track and Ideas Challenge that will provide a focus for showcasing work and exchanging ideas. Building on the success of last year's Developer Track, where we encouraged live hacking and audience participation, we invite members of the technical community to share the features, systems, tools and best practices that are important to you. Presentations can be as informal as you like, but once again we encourage live demonstrations, tours of code repositories, examples of cool features and the unique viewpoints that so many members of our community possess. Submissions should take the form of a title and a brief outline of what will be shared with the community. Further details and guidance on the Ideas Challenge will be forthcoming. Developers are also encouraged to contribute to the other tracks as papers, posters, 24x7 presentations, repository raves and rants 24x7 blocks.
The OR2016 proposal templates are a guideline to help you prepare an effective submission. They will be provided in both the Word document and plain-text Markdown formats and provide details around the requirements for conference papers and panels and 24/7's and posters. These will be available from the conference website shortly.
The conference system will be open for submissions by 15 December 2015. PDF format is preferred.
We will be publishing guidelines for conduct at OR2016. As a reference, the OR2015 Code of Conduct is available at http://www.or2015.net/code-of-conduct/ and the 2015 Anti-Harrassment Policy is athttp://www.or2015.net/anti-harassment-policy/.
OR2016 will again run a Scholarship Programme which will enable us to provide support for a small number of full registered places (including the poster reception and banquet) for the conference in Dublin. The programme is open to librarians, repository managers, developers and researchers in digital libraries and related fields. Applicants submitting a paper for the conference will be given priority consideration for funding. Please note that the programme does not cover costs such as accommodation, travel and subsistence. It is anticipated that the applicant's home institution will provide financial support to supplement the OR Scholarship Award. Full details and an application form will shortly be available on the conference website.


I glanced down at the gas gage. Oh No! It told me that I was out of gas. And I had just driven onto the Evergreen Point Floating Bridge heading across Lake Washington to the University of Washington from Bellevue.
This experience happened sometime in the mid-1970s. At that time I worked for the University and commuted from my home in Bellevue.
I had tempted fate many times before. In a way it was like playing chicken with the gas tank. And then it happened. The gas tank won! My car actually was out of gas in heavy commute traffic with no place to get off. I was stranded in the middle of a bridge that was more than a mile long.
As I recall I sent a pretty large amount into Olympia to cover the gas. It was worth it. I have never run out of gas since, and I no longer play chicken with the gas tank.
A number of years ago, my son Andy who was a senior in high school asked me to go to Mexico with him. After thinking it over, I said "OK, I'll do it." I signed up to be one of 6 adults accompanying 24 high school students on a grand adventure. Andy was a member of a youth group at our church. Each summer the church sent a team of high school students on a trip to provide services to people in need. That year, they had a project arranged at an orphanage outside the town of Encinada, Mexico.
A major part of the project was building a barbed wire fence along one side of the 50 acre property to keep the cattle and other animals from straying into the orphanage. It was heavy, hot work, clearing ground, digging post holes, setting posts, stretching and nailing barbed wire to the posts. I was proud of the boys and girls who worked so hard on the fence project. We were making great progress.
On the third day as I remember, it was hot over 100 degrees. A few of us were sitting around relaxing and talking after lunch. I glanced out at the field and hill side. Smoke was rising. Fire! Rushing up the hill with shovels, hoes, and wet towels, we were beating the flames, and we almost put out the fire, until the wind whipped up. All of a sudden the fire got extremely hot and spread rapidly. It was now out of our control advancing down the hill quickly. I remember running down the hill as the fire raced after us.
We fought the fire all afternoon. At one point I felt really week and hot, probably too much smoke and heat. I stumbled over to one of the two houses next to the orphanage. A nice lady gave me a drink of water from a large ceramic container. She told me that each day they carried water to their homes from the orphanage well. She also told me that they would not be vacating their homes. The men of these families were out battling the fire. They were not going to give up. They were going to save the homes.
When I got back to the orphanage, I noticed that our tents and stuff were all gone, and the ground where we had pitched our camp was scorched. The girls and a couple of advisors had gathered up our camp gear and put the stuff in one of the vehicles and drove it out to the road and safety. Earlier, they had also helped evacuate the children.
The boys and some of the advisors along with a number of local men fought the fire for hours keeping it away from the orphanage. But now it was advancing down the steep hill on the back side. It seemed that all was lost, we were just standing on the road watching helplessly as the fire advanced down the hillside It was about to reach the orphanage. All seemed lost. Our efforts were to no avail. We felt defeated. Just then we heard the sound of large trucks coming down the road. The Encinada fire department arrived with a water truck and pumper truck. They drove into the orphanage property and set up near the back fence close to the fire. The fire was on one side of the fence and the buildings of the orphanage on the other. They sprayed the fire with water until it was completely out. What a relief! The Encinada fire department saved the day.
Everybody was hot and tired, so we all went to the beach, celebrated, and had a great time cooling off. The next day, we took everybody into town, and all had shark tacos which, by the way, were delicious. We made the day for a paper boy too when we bought all his newspapers and sent him out to get more. The newspaper had a story on the front page about how we helped save the orphanage and two homes. A picture of one of our boys fighting the fire also graced the front page. After that, the whole community seemed to love us for what we had done for them. And, we all came back to Bellevue enriched by the experience and full of stories to tell.
When my boys were in high school our neighbor decided to sell his big old ugly truck. It was a 1960s something GMC pickup truck. My boys thought it would be great fun to drive around in. It had a powerful Pontiac V8 engine some previous owner had installed and a transmission from some other vehicle. I have to admit that I got kind of excited about the prospect of seeing my guys driving around town in that monster. So, I had our mechanic go over it thoroughly and give me a report on what he thought should be fixed. And yes, there were quite a lot of repairs I would have to pay for to get it in good working order. But since the asking price was cheap, I swallowed hard, and bought the truck.
I was correct; my boys loved that big old truck. It was unique and quite popular with their friends. I'm not exactly sure why, but whenever I dove it I felt more powerful myself. Maybe that was its secret and the reason for its popularity. My older son, Andy, started calling it Satan. The name caught on and enhanced its reputation even more.
Besides fun to drive, Satan was also useful. I used it occasionally to carry large items that I didn't want to try cramming into our car, and Josh, my younger son, got a lucrative job hauling trash for the City of Medina.
Satan gave us good service for about 4 or 5 years. By then Andy was in college at Washington State University in Eastern Washington and Josh was a senior at Bellevue High School. Later, Andy drove Satan over to college sometime in his sophomore or junior year. By then Satan had seen his better years, he was on his last legs (or tires). Finally after spending a lot of effort to keep Satan going, Andy gave him away to a friend who had some mechanical skills and wanted to work on poor old Satan.
Now, if you ever find yourself driving in Eastern Washington near Pullman or Colfax and you see a big old ugly truck coming your way, smile and give a salute to a special truck named Satan, and know that he gave one family a lot of pleasure.
Everyone called it the Ranch. Actually it was the family farm located north of Spokane where my grandmother (Gram) lived, and where my mother and her brothers and sisters grew up. It was our family's gathering place.
I was probably 3 years old and my cousin Ross was a year older. We were having fun playing like we were gas station men busy filling my dad's car with gas. Actually we were dumping sand and dirt into the gas tank. Later, we all got into the car. Dad drove out the driveway to the road, turned and began driving down the hill. Just then I heard Dad say "That's funny, there's something wrong with the car." I piped up from the back seat and said "Well, we filled up the gas tank this morning." Oops! I can't remember what happened after that, but that became a family story told over and over.
Ross and I tended to get into trouble together when we were little and at the Ranch. I think we must have been playing something like daddy or mommy and little baby. All I can remember is being in the woodshed next to the big house and spoon feeding Ross a pretty greenish blue powder. Ross would say "yum, good," and smack his lips. The next thing I remember was a lot of upset and consternation from the adults and Ross being rushed into the house. I learned later that I had been feeding Ross bird poison. The children were not allowed into the house while all this was going on. So, all we could do was peek in the windows and watch wide-eyed as Ross was fed raw eggs to make him vomit. Yuk! Poor Ross, he took the brunt of that little bit of fun.
A few years later, when I was maybe 7 and Ross was 8, we were playing behind the barn. Ross had some matches, and we set a little fire, just a little one, not too big. Then it started spreading, and "Oh my gosh!" It got out of hand. I ran to the house and told the adults who ran to the barn to put out the fire. When it was all over, my mother cut a willow branch off the tree. She was going to give me a good spanking. But, Gram saved the day for me. She said, "Don't spank Dave, he came and told us about the fire, spank Ross, he ran and hid." So, once again, Ross took the brunt. I'll always be grateful that Ross never held those experiences against me.
Living in Los Angeles was always an adventure. I remember one night being awakened from a deep sleep by the screeching of what sounded like an old bomber from a World War II movie falling from the sky. It sounded like it was about ready to crash into the apartment building where we were living. I was about to spread my body over my wife to shield her from the crash that I knew was coming. The screeching got louder and louder, and then . . . BOOM! The next thing I heard was a woman's voice yelling "NO, CHARLIE!" and the sound of a car engine and a CRASH and more engine sounds and another CRASH.
Back when I was young and single and home from college, I went to a dance at the Trentwood Grange in the Spokane Valley. As I remember that evening, we danced to the music of Chet Curtis and his Western Troubadours. I met a cute young woman, and we had a lot of fun dancing together. At the end of the evening I asked her out for a date. I told her, "You can always remember my name, just think about the Magoo cartoons – you know – his goofy nephew Waldo." For those who don't know, Magoo was a popular cartoon character in the 1950's. In my very best imitation of Magoo, I went, "Eh, eh, eh Waldo." Well, she thought that was pretty funny.
Later when I went to pick her up for our date, she introduced me to her parents as - - - "DAVE MAGOO"
During the summers while I was going to the University of Washington, I worked in a large warehouse for Pacific Fruit and Produce located in Spokane. I worked nights from 9 pm until 5:30 in the morning plus whatever overtime was required.
Our crew was responsible for bringing out the produce and loading it on the trucks, so the drivers could take the orders off the trucks in sequence for each of the various stores along their routes.
My major responsibility each night was to unload watermelons from box cars and load them on what we called ginnys. These were large wagons with sides that we could pull, push, and steer by hand. I would count and weigh the melons for each order, and then the melons would be put on the trucks to go out to the stores. Most nights I would be out in a box car loading up ginnys. Many nights one of the other guys would be out there helping me.
Some nights we got in a bunch of melons that cracked easily. Those were the best melons. They were crisp and delicious. When one cracked, I liked to reach in and grab the heart of the melon and eat it right there in the box car. My mouth is watering now just thinking about it. I took home lots of cracked melons that otherwise would have gone to waste. Sometimes we would give a cracked melon to some of the hobos and bums that were around. It made me feel good to watch them enjoying their treat.
Once in a while we received a box car with lots of spoiled melons. During the early season we would get melons in from places like Texas, and maybe a box car might have sat too long in the hot sun on some side rail. I could tell when we had a box car load like that when I reached for a melon and my finger went right into it. I would pull back with slime all over my hand. It was disgusting! I remember picking up a melon gingerly and hearing the water slosh around inside, and then when I pressed on it with my fingers, it would go to pieces in a mess. One night I was working a box car with another guy, and we had just given a cracked melon to one of the hobos who came by. Another hobo appeared out of the dark and demanded obnoxiously that we give him a melon too. I picked out a rotten melon that was just barely holding together and said here, catch, and I tossed it to him. When he caught it, it exploded all over him. Later, when I thought about what I had done, I kind of felt bad, but it was funny at the time. I didn't feel too bad, because he was so obnoxious.
One thing about working nights pitching watermelons, there was never a dull moment. Occasionally I would have to go down in the dark and use the rail jack to move one of the box cars forward to get it into position., I was a little nervous about doing that because I didn't know who was down there in the dark. One night I jumped down from the dock with my rail jack. As I'm walking beside the box car in the dark, I stepped on something. It felt like a body. And then I heard a groan. A guy was sleeping in the dark next to the box car. I went ahead, moved the box card into position, and made sure I didn't step on him on the way back. That's just the way it was down on the tracks in the dark.
A guy came out of the dark one night and asked if he could stay close to us in the light for awhile. He said someone was out there with a knife, and he was scared. So, we let him hang around until it got light. He was very appreciative that we let him stay safe and also for the cracked melon he feasted on.
Being the Watermelon Man was a good job for me. It paid well, which helped me to go through college. I gained a lot of confidence working those 3 summers for Pacific Fruit & Produce. And, I was proud to be known as the watermelon man. Several years later when I was living in Los Angeles, I went to hear an entertainer named Mongo Santa Maria and his marimba band. I fell in love with his theme song, "Watermelon Man." I loved it so much that I went right out and purchased his record and played it over and over again. I still love hearing the sounds of Mongo Santa Maria and "Watermelon Man." It's my song.
People are Known by Their Stories.
Read, Share, and Enjoy Stories.
I hope you will send it to me using my Contact Form.
If I like it, and if I think others will too, I'll post it here and give you credit for a great story.


On Monday, Montana became the first to reinstate some of the rules the FCC repealed. The question of whether states have the right to do that, however, will likely end up in court.
On Monday, Montana became the first to make it official: Gov. Steve Bullock signed an executive order requiring internet service providers (ISPs) with state contracts to abide by the FCC's old rules requiring providers to treat all internet content equally with regards to access and download speeds.
But it's possible that anything states pass on this issue won't pass legal muster in court.
In 2015, under the Obama administration, the FCC enacted rules to ensure that ISPs, like Comcast and Verizon, could not slow or block access to any websites -- especially not for business advantage or monetary gain. (Before net neutrality rules were put in place, there were a few major cases of telecommunications companies doing just that.) But this past November, FCC Chairman Ajit Pai announced his intention to repeal those rules and reclassify the internet as an "information service," curbing the federal government's ability to oversee and regulate it. In December, FCC commissioners voted 3-2 to overturn net neutrality rules, with the Republican commissioners voting in favor of the move and the two Democrats opposed.
The order from the FCC includes a provision that could be a big problem for states trying to take matters into their own hands: "We conclude that we should exercise our authority to preempt any state or local requirements that are inconsistent with the federal deregulatory approach we adopt today."
In other words, the FCC believes it has the final say on net neutrality. But not all legal scholars agree.
"It's unclear [whether the FCC can preempt state laws]. The agency may have gone too far," says Pantelis Michalopoulos, a partner at the law firm Steptoe and Johnson, and an expert in telecommunications law who has previously represented internet industry groups in net neutrality litigation.
Michalopoulos says that federal preemption is usually based on something -- some conflicting federal regulation or law that trumps state legislation.
The uncertainty will likely lead to legal showdowns between states and the FCC.
In the past, court cases regarding the FCC's ability to preempt state laws have gone both ways. The commission lost a 2015 case trying to preempt state laws on municipal broadband networks, but it was successful in preempting matters regarding voice over internet protocol, or VoIP services, such as Skype.
Lawmakers in many states appear willing to take their chances.
Washington state Rep. Drew Hansen, who introduced a wide-reaching net neutrality bill that would maintain all the protections the FCC rolled back, says he isn't concerned about preemption.
Hansen's bill has been heard in committee, and he says it has bipartisan support.
California state Sen. Scott Wiener, who introduced a net neutrality bill in his state that mirrors Hansen's, agrees.
However, if Congress were to pass legislation on the matter, Wiener thinks the federal government would have a stronger case for preemption. So far, such legislation seems unlikely to pass in the House.
Some states -- Montana, New York and Rhode Island -- are taking a more cautious approach than California or Washington. They're all trying to circumvent federal preemption by crafting very specific and narrow regulations.
New York's bill, introduced by Assemblymember Patricia Fahy, requires compliance with net neutrality principles in order for ISPs to get any state contracts. The workaround means the state won't be able to directly regulate what ISPs do for their consumers in the state, but Fahy hopes the contracts at stake will act as a deterrent for companies considering violating net neutrality.
"We are threading a very thin needle here, and we know we are threading a needle," says Fahy.
In most of these states, the bills have bipartisan support. In Washington state, Hansen says that Republicans in some ways have the greatest interest in the bill because they represent rural areas where consumers often have only one internet service provider, making them vulnerable to changes in pricing and blocking or throttling.
Still, the bills do have their detractors.
Mark Jamison, a visiting scholar at the American Enterprise Institute, a conservative think tank, warns that states could be shooting themselves in the foot with this kind of legislation.
Other experts have disputed statistics about that underinvestment.
Even if states' net neutrality laws don't end up in court, the issue at large most certainly will: Earlier this month, 22 Democratic state attorneys general filed a lawsuit to block the FCC's repeal.


25%92°75°Cloudy with a high of 89 °F (31.7 °C) and a 25% chance of precipitation. Winds variable.Night - Cloudy with a 25% chance of precipitation. Winds variable. The overnight low will be 74 °F (23.3 °C).
Today - Cloudy with a high of 89 °F (31.7 °C) and a 25% chance of precipitation. Winds variable.


The Good to produce a one-of-a-kind infographic designed to explain conversion rate optimization in an easy to understand visual format.
The recent project brought together XPLANE's expertise in driving clarity, alignment, and engagement with their visual solutions and The Good's expert knowledge of user experience and conversion rate optimization.
The infographic is is the first in a series of similar graphics XPLANE plans to design.
Their partnership was a natural fit, bringing greater simplicity to the sometimes complex concept of conversion rate optimization.
To learn more about the CRO and to download a high-res PDF of the infographic, visit What Is CRO: Conversion Rate Optimization?
To learn more about XPLANE's innovative infographics, visit XPLANATiONS.


text:
În mitologia nordică, Garm sau Garmr este un câine monstruos , paznic al Helheimului. Conform legendelor, Garm este un câine uriaș, de culoare portocalie, care este legat la intrarea în peștera Gnipahellir, unica cale de intrare în Helheim. El este cel ce protejează acest tărâm al morții, și tot el este servitorul loial al lui Hel, zeița morți. De asemenea, el are grijă ca nimeni să nu evadeze din Helheim. Se spune că atuci când va veni Ragnarökul, sfârșitul lumii, el se va elibera din lanț și se va alătura giganților în războiul lor contra zeilor. În acest război, Garm va fi ucis de Tyr, dar în acelaș timp și Tyr va muri din cauza rănilor cauzate de Garm. Garm este asociat cu câinele Cerber din mitologia greacă.

Mitologia nordică

redpajama_set_name: RedPajamaWikipedia


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170 XL Visual Fault Locator for steady fault location to find breaks up to 5km. Easy to use quick interface with rugged, compact and splash proof aluminium design.
Easy Fault Locating: The 170XL visual fault locator is an indispensable tool for quickly identifying bending losses and breaks in optical fibers. If a fiber is bent too tightly, red laser light will be seen escaping through the cable jacket. Likewise if a fiber is broken, escaping light will be visible where the break is located.


text:
Giulia Gam (Perusa, 28 de desembre de 1966) és una actriu brasilera d'origen italià. Es va fer famosa al Brasil després d'interpretar la jove Jocasta Silveira en la telenovel·la «Mandala» i des de llavors va començar una meteòrica carrera a la televisió, tot i ser una de les actrius de teatre més influents del Brasil.

Biografia
Giulia va néixer a Itàlia, amb ocasió de la realització d'un curs del pare, José Carlos Gam Heuss.

Al teatre, Giulia va debutar el 1984 a São Paulo, sota la direcció d'Antunes Filho, en el drama Romeu i Julieta, de Shakespeare. Amb la companyia d'Antunes Filho va viatjar en una llarga gira per Austràlia, Europa, EUA i Israel. Un cop dissolta la companyia, va viatjar a París, on va trobar a Peter Brook, que la va motivar a seguir endavant amb la seva carrera teatral.

El gener de 1987, de retorn al Brasil, Giulia es va unir a l'elenc de l'obra Fedra de Jean Racine, convidada per l'actriu Fernanda Montenegro. A l'octubre d'aquest mateix any, va debutar a la televisió, amb un gran èxit. Treballaria encara amb importants directors del teatre, entre els quals José Celso Martinez i Gerald Thomas.

Va estrenar en la TV Globo encara aquell any, convidada pel director Roberto Talma per a participar en els 15 primers capítols de la novel·la Mandala, com la protagonista Jocasta. El personatge, posteriorment, seria interpretat per l'actriu Vera Fischer.

L'any següent, va protagonitzar la minisèrie O Primo Basílio, on va interpretar la jove Luísa, amb Marília Pêra, que feia de la perversa Juliana, i Tony Ramos, en el paper de Jorge.

Després, va participar en la novel·la Que Rei Sou Eu?, de 1989, que va reunir grans noms de la televisió: Tereza Rachel, com la reina Valentine; Antônio Abujamra, com el bruixot Ravengar; Marieta Sever, com Madeleine; i Daniel Filho, com Bergeron Bouchet, entre d'altres.

Entre 1998 i 2000, va estar casada amb el periodista Pedro Bial, amb qui va tenir un fill, Theo. Julia i Pedro han lluitat per la custòdia de Theo durant 2 anys. Giulia va guanyar la custòdia.
Dos anys després, el 1991, va tenir una participació especial en la novel·la Vamp, en el paper d'una vampira roquera, baixista del conjunt liderat per Natasha, de Cláudia Ohana.

El 1993 va ser triada per interpretar Linda Inês, la protagonista de Fera Ferida. Entre 1995 i 1996 va estar en l'elenc principal de les sèries A Comédia da Vida Privada i A Vida Como Ela É..., basades, respectivament, en les cròniques de Luís Fernando Veríssimo i Nelson Rodrigues. El 1998 va protagonitzar la minisèrie Dona Flor e Seus Dois Maridos, en que el seu personatge, Florípedes Paiva (Dona Flor), vivia un triangle amorós amb els personatges de Edson Celulari i Marco Nanini.

Va tornar a la telenovel·la en una participació en La Padroeira, de 2001. El seu personatge, la dolenta Antonieta, arribava a la trama, ja amb un bon nombre de capítols, per a atrapar la vida dels protagonistes interpretats per Deborah Secco i Luigi Baricelli.

Deu anys després sense participar en una telenovel·la sencera, va incorporar-se al repartiment de Dones Apassionades, en la pell de la histèrica Heloísa, una dona obsessiva i molt gelosa. La seva actuació va obtenir gran reconeixement del públic, abordant problemes relacionats amb la lligadura de trompes (feta pel personatge que no volia tenir fills a causa d'aquesta obsessió, cosa que desgasta encara més seves noces), les crisis conjugals, presentant al teleespectador el grup d'auxili Mada (Mulheres que Amam Demais Anônimas), seguint el model dels Alcohòlics Anònims.

El 2005, dos anys i mig sense fer telenovel·les, va retornar al vídeo amb Bang Bang, on va destacar com la seductora Vegas Locomotiv, que inicialment en la trama era només una senyora divertida i després es convertiria en una malvada freda i cruel. Va participar dels primers capítols d'Eterna Màgia.

El 2008 va participar en la Favorita, en el paper de Diva Palhares, una dona que abandona el marit i el fill, per a fugir amb un altre home i acaba detinguda per tràfic internacional d'armes. Després de complir la pena, el seu únic objectiu és aconseguir el perdó de la família. El 2010, va participar a Ti Ti Ti com la soferta mundana Bruna Sampaio, una dona ben casada amb Gustavo (Leopoldo Pacheco), amo d'una editora, que canvia radicalment de vida al descobrir l'existència d'un càncer.

El 2012 va interpretar la culta periodista Laura Belize en Amor Eterno Amor.

El 2013 torna a les telenovel·les amb una dolenta còmica, la decadent Bàrbara Ellen en Sangue Bom. El 2014, va interpretar la dolenta Carlota de Boogie Oogie, novel·la de Rui Vilhena, que va substituir Meu Pedacinho de Chão a les 18h

Filmografia

Televisió
 1987 - Mandala: Jocasta (Young)
 1988 - O Primo Basílio: Luísa
 1989 - Que Rei Sou Eu?: Aline
 1991 - Vamp: Lucia
 1992 - Procura-se
 1992 - Você Decide, Laços de Família
 1993 - Caso Especial, O Alienista
 1993 - Caso Especial, Lucíola
 1993 - Caso Especial, Lisbela e o Prisioneiro
 1993 - Retrato de Mulher, Era Uma Vez: Leila
 1993 - Fera Ferida: Linda Inês
 1995 - A Comédia da Vida Privada, Casados x Solteiros: Ana
 1995 - A Comédia da Vida Privada, Sexo na Cabeça: Camila
 1996 - A Comédia da Vida Privada, Como Destruir Seu Casamento
 1996 - A Comédia da Vida Privada, Drama
 1996 - A Vida como Ela É...
 1998 - Dona Flor e Seus Dois Maridos: Dona Flor
 1999 - Você Decide, Numa e Ninfa
 2000 - Brava Gente
 2001 - Os Normais, Faça o seu Pedido: Clara
 2001 - A Padroeira: Antonieta
 2002 - A Grande Família, Os Boçais: Jaqueline
 2002 - Os Normais, Desconfianças Normais: Taís
 2003 - Mulheres Apaixonadas: Heloísa Morais
 2004 - Celebridade: Herself
 2004 - A Diarista, Quem vai ficar com Marinete?: Nanci
 2005 - A Diarista, É fria, Marinete!: Rogelma
 2005 - A História de Rosa
 2005 - Bang Bang: Vegas Locomotiv / Moll Flanders
 2007 - Eterna Magia: Regina Ferreira / Shirleyd / Raimunda Ferreira
 2008 - A Favorita: Diva Palhares / Rosana Costa / Kato / Miranda
 2009 - Força-Tarefa, Temporada de Caça: Cláudia
 2009 - Aline: Sofia
 2010 - Ti Ti Ti: Bruna Soares Sampaio
 2011 - Chico Xavier: Rita
 2011 - A Grande Família, A República do Salto Alto: Estela
 2011 - A Grande Família, A Noite Perfeita: Estela
 2012 - As Brasileiras: Soraya
 2012 - Amor Eterno Amor: Laura Belize
 2012 - Guerra dos Sexos: Gisele
 2013 - Sangue Bom: Bárbara Ellen (Conceição da Silva)
 2014 - ""Boogie Oogie: Carlota Veiga Azevedo Braga

 Cinema
 1987 - Besame Mucho 2005 - Árido Movie 2010 - Chico Xavier 2011 - Assalto ao Banco Central''

Referències

Persones de Perusa
Actors de cinema brasilers
Actors de teatre brasilers
Actors de sèries de televisió brasilers
Actors de teatre italians
Actors de sèries de televisió italians
Actors de cinema italians
Artistes d'Úmbria


Hedo's excellent block – from – behind on Kobe, who was looking for a go ahead basket before the overtime. I don't really like defenders who like to let their man go forward in order to swipe / block them from behind because I think it's way too dangerous. This was a big impact play in any case, and even Bryant looked like he had to admit that was a good clean block.
Courtney Lee's alley-oop miss on the inbounds play which would've put his team on top during the 88-88 deadlock. He was given a great pick from way on top of the key after which he had a clear lane. It'd have finished the Lakers off with one stroke but his miss instead brought on the OT.
Rashard Lewis' go – ahead three pointer making the score 96-99 in OT, LAL ahead with 26.2 seconds to go. LAL had been on a tear previous to this play, and my regret is that there is no way I could've taken a screenshot at the absolutely great half court defense LAL produced on the play(s) previous to this, where Orlando was forced to take bad shots. LAL's defensive stretch in the dying seconds of OT was truly inspiring stuff though I doubt we'd ever see it on YouTube or NBA Live with its' focus on highlight reels, so you'd just have to trust me on that one.
Jeff van Gundy was completely right when he referred to how horrible Orl's fastbreak was in the 2nd and 3rd quarters. There was even a 4 on 1 instance when Orl inexplicably decided to pass the ball around the three point line, instead of going straight for the hoop. Fortunately Dwight got to the paint and started waving his arms around like crazy and a teammate gave it to him for the uncontested dunk, but they certainly took their time.
Fastbreaks are terrific ways to pump up your team and get things going. People might have forgotten now that big guards Turkoglu, Pietrus and Lewis can produce not only 3 point shots but highlight reel dunks as well (especially Lewis). So when you see you've only got Fisher or some guard defending you on the open court, I think you should go ahead and go for the spectacular play. It'll shut the Forum crowd as well as make your team believe in themselves. Instead they played tentative, and I'm less enthused about their overall efforts as a result.
At some point in the 1st / 2nd quarter, guys like JJ Reddick, Tony Battie and Jameer Nelson were on the floor, along with Marcin Gortat. Why? This is a purely coach – call of course, and I can't (no one can) 2nd guess why coaches do what they do, but I can't imagine these guys have played together for a reasonable number of minutes during the regular season. As a result, you had a bunch of guys unfamiliar with each other's play and they quickly piled on the turnovers, equalized only by LAL's thankfully sputtering offense at the time, resulting in a record low scoring 1st quarter for the NBA Finals.
So I wasn't surprised when Lewis, who was the only 'vet' on that lineup at the time, started to wax hot with 3 after 3. He probably realized he was the only guy who can score on that lineup, so he started shooting it and rightfully so.
And finally, I do not agree with the idea of adding Jameer Nelson or JJ Reddick at this point in the Finals. Right now, I'd think it's ideal that you go with what you know works, and the lineup of Howard, Turkoglu, Lewis, Pietrus and Alston has worked best for them. Messing it up now with Reddick, no matter how good a shooter he is, doesn't make sense to me. Removing Alston, no matter how badly he was shooting, also doesn't make sense to me. I believe you stick with the players that got you there. His confidence, (and as a result his shooting) will take care of itself.


Community service is a vital part of the Tecumseh mission and every October we excitedly welcome back members of the Tecumseh family to get back and give back to camp.
On October 10, , volunteers from all over converged on camp to make improvements to the grounds. This year's projects included framing in teambuilding elements, spreading pea gravel over playground spaces, revamping the trails surrounding the Accipiter, planting flowers, and building fire pits in front of Buffalo and Whitetail lodge.
Our volunteers arrive at 9am in the morning.
Tom Elliott informs the volunteers about the morning projects.
One of the projects includes framing in Yankee Ingenuity, a popular trail in the Pioneer Heritage program for school groups. In Yankee Ingenuity students learn how to build a bridge by tying together sticks using the clove hitch knot.
Pea Gravel is spread across the element to increase safety and prevent flooding. Prior to framing, Yankee Ingenuity would often flood after rainstorms.
Four new firepits have been installed in front of Whitetail and Buffalo lodges. On the weekends, it's common to see guests gathered around fire pits they bring from home. With these permanent installations, they can enjoy a fire without the hassle of packing a fire pit.
The firepits are made out of stone and assembled by hand. A strong adhesive holds the stones in place.
Every fall and spring we plant chrysanthemums along the River Village lodge and the entrance sign at the bottom of the hill.
Additional pea gravel around Fort Discovery and other playground spaces will make them safer for our campers.
Partner Service Day isn't just for adults. Kids are welcome to help out.
We're tremendously grateful for the volunteers who make every partner service day possible. If you or your organization are interested in participating in future partner service days or are seeking community service work, contact Tom Elliott to find out how you can help improve the camp experience for thousands of kids.


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Ethereum market cap surpasses Shell, Morgan Stanley, and Citi Group – Is Netflix next?
cryptocryptocurrencyMarkettradingWireCard
Wirecard's Executive Reportedly Owned Significant Bitcoin Holdings
Jan Marsalek, the former Chief Operating Officer of Wirecard, the now-disgraced payments firm, had the plot thicken around him yet again. According to a report made by a leading Germany-based news outlet, Handelsblatt, Marsalek reportedly transferred considerable amounts of Bitcoin after he fled Germany.
Billions In USD Just Going "Poof"
Marselek served as a key figure within the breakdown of Wirecard, based in Germany. The payments company was subject to much discussion after it filed for insolvency alongside massive allegations of improper accounting. The short of the story is that Wirecard "lost" billions of USD in money, with an audit showing that the money disappeared. Later on, the company even stated that this money might not have existed in the first place.
As a direct result of this, there was a small hick-up in the crypto industry at large. Wirecard was used by many "crypto card" firms out there in order to facilitate crypto-to-fiat payments. While the issue at large was quickly resolved for most payment providers, many in the crypto industry were left without any real means of quick forms of funding. This truly was a scandal of significant magnitude across the financial sector.
Massive Consequences Felt
While the former CEO of Wirecard, Markus Braun, had been arrested after his resignation, Marsalek managed to get out of the country before authorities could get to him. With this latest transfer of Bitcoin, it's suggested that Marselek is hiding out in Russia, having been missing for weeks officially. It's said that Marsalek managed to bring sizable amounts of money to Russia by way of Bitcoin, moving it from Dubai. Dubai was one of the key points for Wirecard, where it did some shady operations.
The end-product for the company at large is a 90% drop in stock price, with EY, the auditing firm, going against Wirecard and stating that the entire fraud was an elaborate, sophisticated beast. EY claims that it was a fraud done by multiple parties across the globe.
Going To Russia
It had already been noted in a July report by the Wall Street Journal that Marsalek had a keen fascination with cryptocurrencies as a whole. It was said that he often engaged in late-night discussions regarding cryptocurrencies, particularly how it could move money without a trace.
It seems that Marsalek had fled to Russia, with the information hinting at Belarus in particular. It's unclear if he will be extradited at this point, as many things are uncertain in these times. What is clear, however, is this is one of the largest financial scandals to have hit the world recently.
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Paxos Standard(PAX)$1.00-0.01%


After receiving the first Suicide Safer Community Award presented by Forward For Life and Common Unity, Trident Reach the Peoples Charity launched its own press release on the 23rd December 2013 (see below). The press release highlights the benfits to its customers of a combined approach to suicide prevention.
To read more about the Combined Approach to promoting Suicide Safer Communities please click here.
A charity which is working to save lives by tackling suicide rates in Birmingham has scooped the first award of its kind in recognition of its efforts.
Trident Reach the People Charity, based in Birmingham, supports vulnerable people across the Midlands, including the homeless and people with mental health problems.
Bosses have been presented with the Suicide Safer Community Award, a new accolade presented by the Forward For Life and Common Unity Social Enterprise.
They received the award at a presentation at Trident Reach's Washington Court homeless scheme in Birmingham last week (18th December).
The award recognises a number of life-saving initiatives at Trident Reach aimed at reducing suicides among its customers and the wider community.
It has been heavily involved in the development of a new Birmingham Suicide Prevention Strategy and action plan to reduce the incidence of suicidal behaviour across the city.
Charity staff have been trained in suicide 'first aid' by undertaking an ASIST (Applied Suicide Intervention Skills Training) course. The two-day skills-building workshop prepares care professionals and volunteers so they can help people having suicidal thoughts.
Staff have also received safeTALK training – a half-day course covering practical steps to help someone who is thinking of taking their own life.
Anthony McCool, Charity Lead at Trident Reach, said: "We are proud to receive this inaugural award for such life-saving and life-changing work.
"Christmas is traditionally a time of festivities and merrymaking but, for many people, it can be a time of great emotional stress. Some people will get depressed and wonder if they can carry on any more.
Birmingham-based Common Unity and Forward For Life are leading the way across the West Midlands and further afield in offering the internationally recognised safeTALK and ASIST courses as a joint approach to establishing 'Suicide Safer Communities'. They bring with them nearly 40 years of expertise and specialist knowledge in the fields of suicide prevention and mental health.


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What we're reading...
by Stefan Delatovic
Culture / Books
Head of Strategy and Content Stefan Delatovic has been reading "The Arsonist" by Chloe Hooper
I worked in Victoria's emergency services for five years, starting about three years after the Black Saturday Bushfires. Even though I wasn't around for that day (I wasn't even living in Victoria then), it coloured everything I did. The warning system I managed had been built in answer to the Royal Commission's findings, for example. I feel like Black Saturday came up almost every day, as a reference point, or a lesson, or a warning of how bad things can get.
The Arsonist by Chloe Hooper follows a man who deliberately lit two fires in the La Trobe Valley on Black Saturday — a man we ultimately learn climbed on his roof to watch them burn and sweep across the land, and the homes and people that lived there.
I read this while the bushfires raged over the summer and smoke hung over the city like a spectre of dread. The book starts by painting a vivid portrait of what it was like to fall victim to the Black Saturday bushfire. People who woke up in hospital after trying to defend their homes from the spontaneous ignition of trees, people who tried to flee but couldn't and people that never woke up at all. Don't read this book during a bad bushfire season.
Much of the book rollicks along as a page-flipping thriller, following detectives as they hunt for an arsonist in a high-crime-area haystack. As they do, their investigations uncover the way fire shapes Australian society, and the small towns within it. It's beautiful, propulsive writing that you feel in your guts.
But here's the thing. They catch the guy, and the story just continues. We sit with this man, and the people around him, until any sense of pious victory gets burnt away. He's not a villain, he's just a man. There's no big speech about why he did it. You feel bad for him. Black Saturday may have been many things, but it wasn't a day where anyone won.
This book reinforces that lesson — one I learnt in journalism well before I was sending warnings to people — that the story is never easy. We humans are at the mercy of forces well beyond our control. Even the arsonist can't control what burns or explain why they did it in the first place.
As I write this I'm working from home as part of a global effort to slow the spread of COVID-19, a crisis that seemingly came the instant the final embers on the summer bushfires went out, as if we're now living in a TV show where every season demands a more bombastic plot twist.
No-one knows what's going to happen next, or even what the world will look like when this virus is defeated. We just need to work together as best we can. I'm glad I read this book beforehand, to remind me that ambiguity is not a cause for anxiety, it's just the way things are.
Stefan Delatovic
Head of Content and Strategy
More What inspires us
by Jade Delios Callanan
What we're listening to…
by Kate McGregor
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We acknowledge the Traditional Owners of the land on which our offices stand, the Yaluk-ut Weelam Clan of the Boon Wurrung, and recognise their continuing connection to land, waters and culture. We pay our respects to their Elders past, present and emerging.
Copyright 2020 Think HQ


Easter – The Lettering Supply Co.
This 100% hand-drawn graphic served as the main promotional and web graphic for the 2018 Easter Sunday celebration service at ClayHouse Church. Initially drawn in graphite, then scanned and digitally colored.


The 3Arena is Ireland's largest indoor concert venue and is less than 20 minutes from The Clarence Hotel, making us an ideal Dublin City Centre Hotel to stay at the night of a concert.
Located at North Wall Quay in the Dublin Docklands, the 3Arena has played host to some of the biggest names in entertainment since opening in 2008. Originally named the O2 Dublin, the state-of the-art arena can has a capacity of 13,000 people. The venue is among the top ten busiest music arenas in the world. You can check out their full events schedule here.
Getting to the 3Arena from The Clarence is easy on the Luas tram line. Walk two minutes from the hotel to Jervis Luas Stop. Take the Luas Red Line towards The Point Luas Stop (6 stops). Alight there and walk one minute to the 3Arena.
The Clarence is the ideal choice for concert-goers looking for hotels near the 3Arena. The Clarence offers a variety of rooms and suites. Each room has complimentary toiletries, a flat screen TV with a selection of local and international channels, complimentary snacks and tea and coffee facilities. Read more about our Rooms & Suites here. Why not make a night of it and grab a drink in our famous Octagon Bar before or after the gig?
Book your stay at The Clarence directly with us for the best rate. For 3Arena accommodation on the night of a concert or show, The Clarence is the perfect choice.