text:
Q: Running MatplotLib Python Code ImportErrors I am trying to run Randy Olson's code - Percentage of Bachelor's Degrees Conferred to Women.
http://www.randalolson.com/2014/06/28/how-to-make-beautiful-data-visualizations-in-python-with-matplotlib/
Full Code (written by Randy Olson and not me, obviously):
from pandas import read_csv

# Read the data into a pandas DataFrame.
gender_degree_data = read_csv("http://www.randalolson.com/wp-content/uploads/percent-bachelors-degrees-women-usa.csv")

# These are the "Tableau 20" colors as RGB.
tableau20 = [(31, 119, 180), (174, 199, 232), (255, 127, 14), (255, 187, 120),
             (44, 160, 44), (152, 223, 138), (214, 39, 40), (255, 152, 150),
             (148, 103, 189), (197, 176, 213), (140, 86, 75), (196, 156, 148),
             (227, 119, 194), (247, 182, 210), (127, 127, 127), (199, 199, 199),
             (188, 189, 34), (219, 219, 141), (23, 190, 207), (158, 218, 229)]

# Scale the RGB values to the [0, 1] range, which is the format matplotlib accepts.
for i in range(len(tableau20)):
    r, g, b = tableau20[i]
    tableau20[i] = (r / 255., g / 255., b / 255.)

# You typically want your plot to be ~1.33x wider than tall. This plot is a rare
# exception because of the number of lines being plotted on it.
# Common sizes: (10, 7.5) and (12, 9)
figure(figsize=(12, 14))

# Remove the plot frame lines. They are unnecessary chartjunk.
ax = subplot(111)
ax.spines["top"].set_visible(False)
ax.spines["bottom"].set_visible(False)
ax.spines["right"].set_visible(False)
ax.spines["left"].set_visible(False)

# Ensure that the axis ticks only show up on the bottom and left of the plot.
# Ticks on the right and top of the plot are generally unnecessary chartjunk.
ax.get_xaxis().tick_bottom()
ax.get_yaxis().tick_left()

# Limit the range of the plot to only where the data is.
# Avoid unnecessary whitespace.
ylim(0, 90)
xlim(1968, 2014)

# Make sure your axis ticks are large enough to be easily read.
# You don't want your viewers squinting to read your plot.
yticks(range(0, 91, 10), [str(x) + "%" for x in range(0, 91, 10)], fontsize=14)
xticks(fontsize=14)

# Provide tick lines across the plot to help your viewers trace along
# the axis ticks. Make sure that the lines are light and small so they
# don't obscure the primary data lines.
for y in range(10, 91, 10):
    plot(range(1968, 2012), [y] * len(range(1968, 2012)), "--", lw=0.5, color="black", alpha=0.3)

# Remove the tick marks; they are unnecessary with the tick lines we just plotted.
plt.tick_params(axis="both", which="both", bottom="off", top="off",
                labelbottom="on", left="off", right="off", labelleft="on")

# Now that the plot is prepared, it's time to actually plot the data!
# Note that I plotted the majors in order of the highest % in the final year.
majors = ['Health Professions', 'Public Administration', 'Education', 'Psychology',
          'Foreign Languages', 'English', 'Communications\nand Journalism',
          'Art and Performance', 'Biology', 'Agriculture',
          'Social Sciences and History', 'Business', 'Math and Statistics',
          'Architecture', 'Physical Sciences', 'Computer Science',
          'Engineering']

for rank, column in enumerate(majors):
    # Plot each line separately with its own color, using the Tableau 20
    # color set in order.
    plot(gender_degree_data.Year.values,
            gender_degree_data[column.replace("\n", " ")].values,
            lw=2.5, color=tableau20[rank])

    # Add a text label to the right end of every line. Most of the code below
    # is adding specific offsets y position because some labels overlapped.
    y_pos = gender_degree_data[column.replace("\n", " ")].values[-1] - 0.5
    if column == "Foreign Languages":
        y_pos += 0.5
    elif column == "English":
        y_pos -= 0.5
    elif column == "Communications\nand Journalism":
        y_pos += 0.75
    elif column == "Art and Performance":
        y_pos -= 0.25
    elif column == "Agriculture":
        y_pos += 1.25
    elif column == "Social Sciences and History":
        y_pos += 0.25
    elif column == "Business":
        y_pos -= 0.75
    elif column == "Math and Statistics":
        y_pos += 0.75
    elif column == "Architecture":
        y_pos -= 0.75
    elif column == "Computer Science":
        y_pos += 0.75
    elif column == "Engineering":
        y_pos -= 0.25

    # Again, make sure that all labels are large enough to be easily read
    # by the viewer.
    text(2011.5, y_pos, column, fontsize=14, color=tableau20[rank])

# matplotlib's title() call centers the title on the plot, but not the graph,
# so I used the text() call to customize where the title goes.

# Make the title big enough so it spans the entire plot, but don't make it
# so big that it requires two lines to show.

# Note that if the title is descriptive enough, it is unnecessary to include
# axis labels; they are self-evident, in this plot's case.
text(1995, 93, "Percentage of Bachelor's degrees conferred to women in the U.S.A."
       ", by major (1970-2012)", fontsize=17, ha="center")

# Always include your data source(s) and copyright notice! And for your
# data sources, tell your viewers exactly where the data came from,
# preferably with a direct link to the data. Just telling your viewers
# that you used data from the "U.S. Census Bureau" is completely useless:
# the U.S. Census Bureau provides all kinds of data, so how are your
# viewers supposed to know which data set you used?
text(1966, -8, "Data source: nces.ed.gov/programs/digest/2013menu_tables.asp"
       "\nAuthor: Randy Olson (randalolson.com / @randal_olson)"
       "\nNote: Some majors are missing because the historical data "
       "is not available for them", fontsize=10)

# Finally, save the figure as a PNG.
# You can also save it as a PDF, JPEG, etc.
# Just change the file extension in this call.
# bbox_inches="tight" removes all the extra whitespace on the edges of your plot.
savefig("percent-bachelors-degrees-women-usa.png", bbox_inches="tight");

I have all of the dependencies as I installed Python through Anaconda. I am not sure how to run it through IPython Notebook, though, and am hoping I can work around that. I am having trouble with the imports
I have:
from pandas import read_csv
from matplotlib import *
from matplotlib.figure import figure

But I keep getting TypeError: 'module' object is not callable or ImportError: cannot import name figure
I know this is a pretty basic Python problem but I'm not sure what to do here. I want a line plot with multiple lines that has an interactive hovertool and this seems like the best example I can find. If anyone knows how to fix this or even knows of other examples of already written interactive lineplots that are easy to manipulate with new data, let me know!
EDIT:
using
from pandas import read_csv
from matplotlib import *
from matplotlib.figure import Figure
import pandas

and the same code:
Full Traceback
runfile('C:/Users/jbyrusb/Documents/Python Scripts/Disputes/WomenDegreesExample.py', wdir='C:/Users/jbyrusb/Documents/Python Scripts/Disputes')
Traceback (most recent call last):

  File "<ipython-input-30-1b99e15a9df1>", line 1, in <module>
    runfile('C:/Users/jbyrusb/Documents/Python Scripts/Disputes/WomenDegreesExample.py', wdir='C:/Users/jbyrusb/Documents/Python Scripts/Disputes')

  File "C:\Users\jbyrusb\AppData\Local\Continuum\Anaconda\lib\site-packages\spyderlib\widgets\externalshell\sitecustomize.py", line 682, in runfile
    execfile(filename, namespace)

  File "C:\Users\jbyrusb\AppData\Local\Continuum\Anaconda\lib\site-packages\spyderlib\widgets\externalshell\sitecustomize.py", line 71, in execfile
    exec(compile(scripttext, filename, 'exec'), glob, loc)

  File "C:/Users/jbyrusb/Documents/Python Scripts/Disputes/WomenDegreesExample.py", line 33, in <module>
    figure(figsize=(12, 14))

TypeError: 'module' object is not callable

A: The example in your link calls %pylab inline, which an ipython command that among other things, executesfrom pylab import *.
This is literally the worst way to demonstrate matplotlib and if I could wave a magic wand and it remove it from the internet and the world, I would.
In short, adding from pylab import * to the top of the original code should solve the problems.
Here's the code in modern object-oriented matplotlib:
%matplotlib inline
import numpy as np
import matplotlib.pyplot as plt
import pandas
import seaborn

seaborn.set(style='white')

# Read the data into a pandas DataFrame.
url = "http://www.randalolson.com/wp-content/uploads/percent-bachelors-degrees-women-usa.csv"
gender_degree_data = pandas.read_csv(url)

# These are the "Tableau 20" colors as RGB.
tableau20 = np.array([
    ( 31, 119, 180), (174, 199, 232), (255, 127,  14), (255, 187, 120),
    ( 44, 160,  44), (152, 223, 138), (214,  39,  40), (255, 152, 150),
    (148, 103, 189), (197, 176, 213), (140,  86,  75), (196, 156, 148),
    (227, 119, 194), (247, 182, 210), (127, 127, 127), (199, 199, 199),
    (188, 189,  34), (219, 219, 141), ( 23, 190, 207), (158, 218, 229)
]) / 255.

fig, ax = plt.subplots(figsize=(12, 14))

seaborn.despine(ax=ax, left=True, bottom=True)

ax.xaxis.tick_bottom()
ax.yaxis.tick_left()

ax.set_ylim(bottom=0, top=90)
ax.set_xlim(left=1968, right=2014)

ax.set_yticks(range(0, 91, 10))
ax.set_yticklabels([str(x) + "%" for x in range(0, 91, 10)])

for y in range(10, 91, 10):
    ax.plot(range(1968, 2012), [y] * len(range(1968, 2012)), "--",
            lw=0.5, color="black", alpha=0.3)

ax.tick_params(axis="both", which="both", bottom="off", top="off", labelsize=14,
                labelbottom="on", left="off", right="off", labelleft="on")

majors = [
    'Health Professions', 'Public Administration', 'Education',
    'Psychology','Foreign Languages', 'English',
    'Communications\nand Journalism', 'Art and Performance',
    'Biology', 'Agriculture', 'Social Sciences and History',
    'Business', 'Math and Statistics', 'Architecture',
    'Physical Sciences', 'Computer Science','Engineering'
]

offsets = {
    "Foreign Languages": +0.5,
    "English": -0.5,
    "Communications\nand Journalism": +0.75,
    "Art and Performance": -0.25,
    "Agriculture": +1.25,
    "Social Sciences and History": +0.25,
    "Business": -0.75,
    "Math and Statistics": +0.75,
    "Architecture": -0.75,
    "Computer Science": +0.75,
    "Engineering": -0.25,
}

for rank, column in enumerate(majors):
    ax.plot(gender_degree_data.Year.values,
            gender_degree_data[column.replace("\n", " ")].values,
            lw=2.5, color=tableau20[rank])

    y_pos = gender_degree_data[column.replace("\n", " ")].values[-1] - 0.5
    y_pos += offsets.get(column, 0)

    ax.text(2011.5, y_pos, column, fontsize=14, color=tableau20[rank])

ax.text(1995, 93, "Percentage of Bachelor's degrees conferred to women in the U.S.A."
       ", by major (1970-2012)", fontsize=17, ha="center")

ax.text(1966, -8, "Data source: nces.ed.gov/programs/digest/2013menu_tables.asp"
       "\nAuthor: Randy Olson (randalolson.com / @randal_olson)"
       "\nNote: Some majors are missing because the historical data "
       "is not available for them", fontsize=10)

fig.savefig("percent-bachelors-degrees-women-usa.png", bbox_inches="tight")

A: As Paul points out, using %pylab inline is an outdated practice and should no longer be used. Here's the updated code that can be run outside of the IPython Notebook and doesn't add the extra Seaborn dependency.
I've also written an example that uses only matplotlib. You can find it in the matplotlib gallery here.
import matplotlib.pyplot as plt
import pandas as pd

# Read the data into a pandas DataFrame.
gender_degree_data = pd.read_csv("http://www.randalolson.com/wp-content/uploads/percent-bachelors-degrees-women-usa.csv")

# These are the "Tableau 20" colors as RGB.
tableau20 = [(31, 119, 180), (174, 199, 232), (255, 127, 14), (255, 187, 120),
             (44, 160, 44), (152, 223, 138), (214, 39, 40), (255, 152, 150),
             (148, 103, 189), (197, 176, 213), (140, 86, 75), (196, 156, 148),
             (227, 119, 194), (247, 182, 210), (127, 127, 127), (199, 199, 199),
             (188, 189, 34), (219, 219, 141), (23, 190, 207), (158, 218, 229)]

# Scale the RGB values to the [0, 1] range, which is the format matplotlib accepts.
for i in range(len(tableau20)):
    r, g, b = tableau20[i]
    tableau20[i] = (r / 255., g / 255., b / 255.)

# You typically want your plot to be ~1.33x wider than tall. This plot is a rare
# exception because of the number of lines being plotted on it.
# Common sizes: (10, 7.5) and (12, 9)
plt.figure(figsize=(12, 14))

# Remove the plot frame lines. They are unnecessary chartjunk.
ax = plt.subplot(111)
ax.spines["top"].set_visible(False)
ax.spines["bottom"].set_visible(False)
ax.spines["right"].set_visible(False)
ax.spines["left"].set_visible(False)

# Ensure that the axis ticks only show up on the bottom and left of the plot.
# Ticks on the right and top of the plot are generally unnecessary chartjunk.
ax.get_xaxis().tick_bottom()
ax.get_yaxis().tick_left()

# Limit the range of the plot to only where the data is.
# Avoid unnecessary whitespace.
plt.ylim(0, 90)
plt.xlim(1968, 2014)

# Make sure your axis ticks are large enough to be easily read.
# You don't want your viewers squinting to read your plot.
plt.yticks(range(0, 91, 10), [str(x) + "%" for x in range(0, 91, 10)], fontsize=14)
plt.xticks(fontsize=14)

# Provide tick lines across the plot to help your viewers trace along
# the axis ticks. Make sure that the lines are light and small so they
# don't obscure the primary data lines.
for y in range(10, 91, 10):
    plt.plot(range(1968, 2012), [y] * len(range(1968, 2012)), "--", lw=0.5, color="black", alpha=0.3)

# Remove the tick marks; they are unnecessary with the tick lines we just plotted.
plt.tick_params(axis="both", which="both", bottom="off", top="off",
                labelbottom="on", left="off", right="off", labelleft="on")

# Now that the plot is prepared, it's time to actually plot the data!
# Note that I plotted the majors in order of the highest % in the final year.
majors = ['Health Professions', 'Public Administration', 'Education', 'Psychology',
          'Foreign Languages', 'English', 'Communications\nand Journalism',
          'Art and Performance', 'Biology', 'Agriculture',
          'Social Sciences and History', 'Business', 'Math and Statistics',
          'Architecture', 'Physical Sciences', 'Computer Science',
          'Engineering']

for rank, column in enumerate(majors):
    # Plot each line separately with its own color, using the Tableau 20
    # color set in order.
    plt.plot(gender_degree_data.Year.values,
            gender_degree_data[column.replace("\n", " ")].values,
            lw=2.5, color=tableau20[rank])

    # Add a text label to the right end of every line. Most of the code below
    # is adding specific offsets y position because some labels overlapped.
    y_pos = gender_degree_data[column.replace("\n", " ")].values[-1] - 0.5
    if column == "Foreign Languages":
        y_pos += 0.5
    elif column == "English":
        y_pos -= 0.5
    elif column == "Communications\nand Journalism":
        y_pos += 0.75
    elif column == "Art and Performance":
        y_pos -= 0.25
    elif column == "Agriculture":
        y_pos += 1.25
    elif column == "Social Sciences and History":
        y_pos += 0.25
    elif column == "Business":
        y_pos -= 0.75
    elif column == "Math and Statistics":
        y_pos += 0.75
    elif column == "Architecture":
        y_pos -= 0.75
    elif column == "Computer Science":
        y_pos += 0.75
    elif column == "Engineering":
        y_pos -= 0.25

    # Again, make sure that all labels are large enough to be easily read
    # by the viewer.
    plt.text(2011.5, y_pos, column, fontsize=14, color=tableau20[rank])

# matplotlib's title() call centers the title on the plot, but not the graph,
# so I used the text() call to customize where the title goes.

# Make the title big enough so it spans the entire plot, but don't make it
# so big that it requires two lines to show.

# Note that if the title is descriptive enough, it is unnecessary to include
# axis labels; they are self-evident, in this plot's case.
plt.text(1995, 93, "Percentage of Bachelor's degrees conferred to women in the U.S.A."
       ", by major (1970-2012)", fontsize=17, ha="center")

# Always include your data source(s) and copyright notice! And for your
# data sources, tell your viewers exactly where the data came from,
# preferably with a direct link to the data. Just telling your viewers
# that you used data from the "U.S. Census Bureau" is completely useless:
# the U.S. Census Bureau provides all kinds of data, so how are your
# viewers supposed to know which data set you used?
plt.text(1966, -8, "Data source: nces.ed.gov/programs/digest/2013menu_tables.asp"
       "\nAuthor: Randy Olson (randalolson.com / @randal_olson)"
       "\nNote: Some majors are missing because the historical data "
       "is not available for them", fontsize=10)

# Finally, save the figure as a PNG.
# You can also save it as a PDF, JPEG, etc.
# Just change the file extension in this call.
# bbox_inches="tight" removes all the extra whitespace on the edges of your plot.
plt.savefig("percent-bachelors-degrees-women-usa.png", bbox_inches="tight");

Here's what the final result looks like:

I've updated my blog post with this new code as well. Thanks for bringing this issue to my attention!

redpajama_set_name: RedPajamaStackExchange


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text:
Q: B2C: Can I change my AppId URI without it being a breaking change? I want to change the Application URI of one of my B2C applications. Unfortunately, the old URI stops working a couple of seconds after I change it.

AADB2C90205: This application does not have sufficient permissions against this web resource to perform the operation.

I would like to give my clients at least a couple of days to update their apps. My first idea was to first switch the applications to use the clientId as the scope, but I can't seem to get it to work with the defined API scopes.
GET https://{tenant}.b2clogin.com/{tenant}.onmicrosoft.com/{policy}/oauth2/v2.0/authorize?
client_id=45be975b-eb28-438f-aab3-508b9d1d5288
&response_type=code
&redirect_uri=urn%3Aietf%3Awg%3Aoauth%3A2.0%3Aoob
&response_mode=query
&scope=https://{{tenant}}.onmicrosoft.com/MyApplication/MyReadScope
&state=arbitrary_data_you_can_receive_in_the_response

I can get a successfull authentication when using the clientId instead of the AppId Uri, but this is missing MyReadScope. All requests I tried with MyReadScope fail to go trough.
GET https://{tenant}.b2clogin.com/{tenant}.onmicrosoft.com/{policy}/oauth2/v2.0/authorize?
client_id=45be975b-eb28-438f-aab3-508b9d1d5288
&response_type=code
&redirect_uri=urn%3Aietf%3Awg%3Aoauth%3A2.0%3Aoob
&response_mode=query
&scope=45be975b-eb28-438f-aab3-508b9d1d5288  // How can I put MyReadScope here?
&state=arbitrary_data_you_can_receive_in_the_response

A: Create a new application registration to represent the API. Expose the same permissions as the old one. Assign permissions from your front end app registration to the new app registration. Your APIs will need to accept tokens from 2 audiences whilst the Applications update their scope params.


text:
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History
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References

Further reading

External links
 Nemaha County maps: Current, Historic, KDOT

Unincorporated communities in Nemaha County, Kansas
Unincorporated communities in Kansas
1881 establishments in Kansas
Populated places established in 1881

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1 J. Y. Kang, et al. "The effect of chile ingestion of gastrointestinal mucosal proliferation and azoxymethane-induced cancer in the rat." Journal of Gastroenterology-Hepatol. Mar-Apr. 1992: 7 (2): 194-98.
2 K. G. Yeoh, et al. "Chile protects against aspirin-induced gastroduodenal mucosal injury in humans." Dig-Dis-Sci. Mar. 1995: 40 (3): 580-83.
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Finchley Central (N3), New Southgate (N11), Southgate (N14), Woodside Park (N12), Torrington Park (N12), Whetstone (N20), Hendon (NW4), Totteridge (N20), High Barnet (EN5), East Barnet (EN4), Friern Barnet (N11), Golders Green (NW11), Temple Fortune (NW11), Mill Hill (NW7), Muswell Hill (N11), Highgate (N6), Hampstead Garden Suburb (N2), Hampstead (NW3), Palmers Green (N13), Potters Bar(EN6), Enfield town (EN1) and Borehamwood and Elstree (WD6).


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Why Dhoni step down as the captain of India's ODI and T20?
by Kuldeep Mathur
Why Dhoni step down as the captain of India's ODI and T20? :- Mumbai: On Wednesday, Indian Skipper M S Dhoni left the cricket fraternity stunned after he decided to step down as India's ODI and T20 skipper.
It was thought that Dhoni would captain the side in Champions Trophy 2017 which will be played in England and then hand over the baton to Kohli. However, Dhoni opted not to wait till then and relinquished the role.
As per the reports indicating that Dhoni had an interaction with Team India Chief Selector – MSK Prasad who was at the venue to follow the proceedings between Gujarat versus Jharkhand Ranji Trophy semifinal.
Both was clicked having a chat on Tuesday and Wednesday, it was thought that they were having a discussion about team selection for the ODI series against England.
It turned out that Dhoni let Prasad know that he wishes to step down from the role India's ODI and T20 skipper.
An ESPNcricinfo report quoted Prasad as saying that we all know his sense of integrity and patriotism, and he has got high clarity in thinking. Prasad did not go into the details of what the conversation was between him and Dhoni.
Prasad added that probably he felt that is the best decision, so let us respect it.
Under the captaincy of Dhoni, the record of India did not decline in recent times. They had blanked Australia 3-0 in T20 Australia, had defeated Sri Lanka in three-match T20 series, won the Asia Cup, reached the semifinals of the ICC World Twenty20, won the ODI series against New Zealand.
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redpajama_set_name: RedPajamaCommonCrawl


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The Tett Centre for Creativity & Learning receives a grant from the Community Foundation for Kingston & Area
The Tett Centre for Creativity & Learning receives a grant for Woven Together from the Community Foundation for Kingston & Area.
Woven Together at the Tett Centre will now be a reality thanks to a partnership with the Community Foundation for Kingston & Area. We are pleased to have received a $5,500 grant that will directly help us to create a unique opportunity in our arts-enriched centre in coordination with two well-respected community organizations: The Kingston Handloom Weavers and Spinners, one of our resident organizations and Ontario's oldest and reputable fibre arts guilds, and Kingston's New Sisters of Canada group, a group of Kingston Newcomer women. Together with these organizations, we will present a cross-cultural and inter-generational exploration of fibre arts in the new year.
The main objective is to nurture a sense of community. This project will run monthly and will be provided free (with registration). There will be a feature project each month, with instruction and expertise of the Kingston Handloom Weavers and Spinners plus a focus on skill-sharing between cultures in the field of fibre arts.
This project will provide an opportunity for different cultures to share, connect, and communicate in ways that are not always readily available, especially with Covid-19 upon us. Covid-19 has had the unfortunate impact and creating some community distance and disorientation. We have worked diligently with the KFL&A Public Health Unit to ensure that our safety protocols are in place and that we are using best practices for a project like this to able to take place at the Tett. The spaces in which this project will happen have been adapted in order for us to continue to welcome the public and encourage public participation in the arts.
Kingston has been proud to welcome newcomers and we feel that this project will allow The Tett Centre for Creativity and Learning and one of our resident organizations to show our heartfelt support for welcoming and giving meaningful value to improving diversity and inclusion as a public arts centre and a charitable organization.
The Community Foundation for Kingston & Area strengthens our community by connecting the generosity of donors with the energy and ideas of people and charities addressing local community needs. Together, we've been making meaningful and lasting impacts in our community since 1995. Learn more at: www.cfka.org.
Thank you Community Foundation for Kingston & Area!
The Tett Centre for Creativity and Learning is a Not-for-Profit, charitable organization that operates an historic city-owned building on Kingston's waterfront. We strive to be a welcoming destination where artists, arts organizations, and the community come together to explore, create, and be inspired. We are home to nine tenant arts organizations, eight resident artist studios, and four multi-use rentable public spaces. We coordinate and create high-quality, accessible, arts-focused programming for all levels of artistic abilities and experience. As a unique cultural landmark for Kingston residents and area visitors, we enhance learning and public participation in the arts. Learn more at: www.tettcentre.org
The objectives of the Kingston Handloom Weavers & Spinners Guild are, to promote interest and education in weaving, spinning and related fiber arts. The Guild welcomes all levels of interest in traditional and contemporary weaving, spinning and other textile arts and crafts. Learn more: https://www.khws.ca/
The KCHC – Immigrant Services Kingston and Area program envisions Kingston as a community that is strengthened by the contributions and skills of immigrants, newcomers, and refugees. We offer a variety of settlement programs and services. Learn more: https://www.facebook.com/Iska.Kingston


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YodelOut! Art
Studies In Art and Art History
Home > Art > Penumbra
SO far in following the progress of modern French painting we have passed unnoticed many a quiet backwater where the artist has liberated his spirit in seclusion from the swift main stream. The present chapter, therefore, shall be in the nature of a retrospect, gathering up some of the personalities that the logic of events compelled us for the time to over-look.
The dominant features of the nineteenth century, scientific research and material progress, tended for a time toward rationalism, and materialism, to a belief in nothing that could not be submitted to the evidence of the senses. This attitude toward life was reflected, as we have seen, in the painter's attitude toward art. Romanticism, at least in its origin, had been an expression of soul. Naturalism and Impressionism, however, were to a great extent the products of that "chair and table" view of life which confines its interest to what can be seen and handled. A vast quantity of modern painting in France, as indeed elsewhere, presents a spectacle of the most barren materialism. Nor is this quality characteristic only of much naturalistic and impressionistic work; it is equally so, though in a different and perhaps less tolerable way, of a great deal of the academic output. In fact, if a visitor, arriving from another planet, were to base his estimate of modern civilization on the exhibits of picture galleries, he might easily be led to the conclusion that the modern man was without imagination and devoid of any conscious need of higher thinking and feeling. He would, of course, be mistaken, even misjudging the evidence of pictures. For the modern has exhibited his imagination in discovering beauty in things of common experience and has through his study of light and color subtilized, it is even proper to say spiritualized, his feeling for beauty. Still, in the main, he has limited his appreciation of beauty to the visible and tangible.
It is in contrast with this main tendency that the imagination of certain painters, conscious that reality is not solely an affair of eyesight, has penetrated beyond the palpable into the confines of the spiritual ; into that penumbra where fact and faith join mysterious hands.
Some have introduced obscurity into their pictures, creating a physical penumbra in which the forms are partly merged; while all suggest a feeling, aloof from the stir of things in a sort of penumbra of the spirit. Jean Charles Cazin (1841–1900) in a measure represents both these phases, as well in his figure subjects as in his better-known landscapes. It is not obscurity in the sense of darkness that wraps his night scenes, twilights and moonlights. But the facts of things are slumbering, merged in the impression of the scene, as it affects the spirit. These village streets, and sandy dunes, quiet by day, become in the phantom half-light ghosts. And ghosts are impressive, as some one has said, because they are silent. It is the silence of these vacant spaces that so poignantly arrests one's spirit. A corresponding impressiveness characterizes his earlier subjects in which figures play important part; his Biblical scenes, for example, such as Hagar and Ishmael in the Wilderness; and also his modern figure studies. In one case the spirit of the scene, in the other the spirit of the individual, is detached from outside contact, alone with its own silence.
In a strain of elegant lyricism which unfortunately sometimes lapses into prettiness, Edouard Aman Jean (1860—) renders the graceful forms of women, haunting the stillness of quiet gardens. He began with themes of legendary and historic lore, Jeanne d'Arc and St. Geneviève, and something of the mystic still lingers in his presentment of the modern Parisienne.
The works of René Ménard, born about 1858, are impregnated with a consciousness of the subtlety of beauty. The portrait of his uncle, the philosopher, Louis Ménard, in the Luxembourg, is that of a man whose eyes look beyond the evidence of the material and temporal with a gaze of strangely tender penetration. Meanwhile, Ménard's landscapes, with or without figures, present an alluring combination of objective nature with the subjective expression of a spirit that in its essence is Hellenic. Yet it is a modern spirit. The exquisite nudes, whose presence personifies the spirit of the mountains, lakes and trees are no mere Oreads and Dryads revivified. They are the living, palpitating abstractions of nature's loveliness as today we may know and feel it.
The mystery latent in things very familiar has been explored by Henri Sidaner (1862–) . He has become most characteristically identified with subjects in which still-life plays a chief part. The corner of a city garden, for example, shows a table spread with a white cloth and garnished with glass and silver, flowers and fruit. These reflect in a thousand nuances the warm glow of a rose-shaded lamp; the whole forming a jewel of tender radiance set in the pale uncertain luminosity of the moonlit garden. Sometimes it is the drear homeliness of a village street that the moonlight invests with tender poetry, or the outworn grandeur of a Venetian palace which in the soft clair obscure palpitates with the melody of bygone memories.
Two artists of choice vision are Adolphe Monticelli (1824–1886) and Henri Fantin-Latour (1836-1904). Both loved music; Monticelli, the ravishing irresponsibility of gipsy music, while Fantin Latour was among the first Frenchmen to appreciate Wagner and an enthusiastic devotee of Berlioz, Rossini and Brahms. During the days of the Third Empire Monticelli ruffled it bravely in Parisian life; but after the disasters of 1870 retired to Marseilles and lived a life of seclusion that to outsiders seemed pathetic. But he lived within himself a life which, while its mental basis may have been insecure and fantastical, was one of inspiration to his art. Just as he filled his consciousness with rich luxurious fantasies, so he peopled the spaces of his pictures. For Monticelli's impressionism differed radically in technique from the Manet type. He was not an embroiderer of surfaces, but a great space constructor, the builder of concaves whose limits merge in the infinite. And this without any use of grays or usual effects of penumbra. His colors burn like molten jewels, his light, whether moonlight or otherwise, does not pass into an aura of obscurity. The light passes into light, suggesting interminable vistas of mysterious pleasure. And these vistas, avenues and corridors of living light are thronged with votaries of joyousness, as real and yet as detached from ordinary reality as Watteau's gallants and their ladies. Substitute, how ever, for Watteau's exquisite logic, typically French, the passionate rhythms and harmonies so purely those of instinct, which characterize Hungarian gipsy music, and you begin to account for the exceptional phenomenon of Monticelli.
Fantin-Latour owed much to the example of Ingres. Acting upon his own choiceness of temperament it tempered to fineness the naturalistic motive which he shared with others of his day. His Portrait of Manet (p. 193) exhibits the intimacy of his feeling and simple directness of treatment ; but it scarcely reveals that deeper penetration of the subject's personality and the capacity to place him aloof in an intimate atmosphere of his own which characterizes Fantin Latour's best portraits. Of these there is none finer than the Portrait of Edwin Edwards and his Wife in the National Gallery. The man sits absorbed in the study of a print, the lady, standing beside him with folded arms, has lifted her gaze from the work of art and fixes it on a far vision. Around the two figures is an aura of highly refined abstraction. This picture is the work of an artist whose temperament led him not only to a fine conception of his subject but also involved a quiet directness that enabled him to realize the conception simply yet fully. The same happy union of conception and achievement characterizes those figure-subjects which were inspired by his love of music. Some were executed in pastel, more by lithography; the latter medium helping him technically, since the grain of the stone served to break up the surfaces, which, when he handled paint, were rather inclined to tightness. But in these groups of nude and draped figures, the lights scintillate and the shadows are lustrous; the surfaces tremble and glow in the variety of rhythmic and melodious movement. These exquisite interpretations of the very spirit of dance and music are touched with the dignity of Ingres and the naïve grace of Prud'hon, while they vibrate to the naturalness of Fantin Latour's own mingled joyousness and seriousness of temperament.
It was under the shadow of Rembrandt that Eugène Carrière (1849–1906) matured. As a young man he had come under the spell of Rubens and Velasquez and his earlier pictures are distinguished by a delicate manipulation of blues, rose and pale yellow, harmonized with neutral browns and grays. Gradually his color scheme became more austere, until he developed his matured style, which floats the light and shade in an embrowned penumbra, while out of it emerge those parts of the forms which are essential to interpret the expression. The subjects become variations on the theme of Maternity, with occasional portraits and religious pictures, such as the Crucifixion of the Luxembourg. One and all are impregnated with profoundly reverential tenderness, a, reflection of the artist's own moral beauty of character, which so deeply endeared him to his intimate friends. Notwithstanding the spiritualized atmosphere, there is no lack of plasticity in such parts of the figures as are revealed. There is no evasion of form but a control of it, so as to subordinate the mere facts to expression. It is his feeling regarding the subject that Carrière was bent upon interpreting.
The essence of all beautiful art, all great art, is gratitude. Friedrich Nietzsche
The arts are fundamental to our humanity. They ennoble and inspire us—fostering creativity, goodness, and beauty. The arts help us express our values, build bridges between cultures, and bring us together regardless of ethnicity, religion, or age. When times are tough, art is salve for the ache.
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Vicky Rubinis the author and illustrator of Ralphie and the Swamp Baby and author of The Three Swingin' Pigs, both from Holt. She has illustrated magazines, activity books, greeting cards, and signage. Her humorous poetry has appeared in Cricket and Spider magazines. She enjoys all-night diners, lipstick, and dancing. Please visit her at http://doodlesoop.com.


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GLOBAL PEACE AND HUMAN RIGHTS SUMMIT 2019 AND AWARDS
Video Uncategorized | October 4, 2019 | admin
Youth for Human Rights India is hosting its "GLOBAL PEACE AND HUMAN RIGHTS SUMMIT 2019 AND AWARDS" in Lucknow on the 23rd to 24th of November. This global summit is an opportunity for people all over the world to avail an unbiased platform to contribute towards humanitarian development and put forth their views and achievements for a broader platform to acknowledge. The goal of this summit is to unite Youth and adults from the globe to talk about innovation, implementation of best practices for promotion, education and training of human Rights and UNSDGs. The participants and guests will come from all around the world, which will include dignitaries from the Government of India and other countries. Youth for Human Rights India envisions a better future for generations to come. Our Vision as an organization is to imbibe our principal methods that promote human rights and understanding of sustainable development goals 2030 and commitment to achieve them. Youth for Human Rights India is a Non-Profit Organization which is supported by Holy Vision International.
For Registration
Click Here:- http://www.youthforhumanrightsindia.org/upcoming-events/
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Happy Diwali from Dr. Arjumand Zaidi November 13, 2020
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Tip 2 diyabetli hastalarda pankreatitit riski
Tip 2 diyabetli hastalarda ilaca bağlı pankreatitit riski (İng)
Incretin Mimetic Drugs for Type 2 Diabetes: Early Communication – Reports of Possible Increased Risk of Pancreatitis and Pre-cancerous Findings of the Pancreas
AUDIENCE: Gastroenterology, Endocrinology, Oncology, Patient
ISSUE: FDA is evaluating unpublished new findings by a group of academic researchers that suggest an increased risk of pancreatitis and pre-cancerous cellular changes called pancreatic duct metaplasia in patients with type 2 diabetes treated with a class of drugs called incretin mimetics. These findings were based on examination of a small number of pancreatic tissue specimens taken from patients after they died from unspecified causes. FDA has asked the researchers to provide the methodology used to collect and study these specimens and to provide the tissue samples so the Agency can further investigate potential pancreatic toxicity associated with the incretin mimetics.
BACKGROUND: Drugs in the incretin mimetic class include exenatide (Byetta, Bydureon), liraglutide (Victoza), sitagliptin (Januvia, Janumet, Janumet XR, Juvisync), saxagliptin (Onglyza, Kombiglyze XR), alogliptin (Nesina, Kazano, Oseni), and linagliptin (Tradjenta, Jentadueto). These drugs work by mimicking the incretin hormones that the body usually produces naturally to stimulate the release of insulin in response to a meal. They are used along with diet and exercise to lower blood sugar in adults with type 2 diabetes.
RECOMMENDATIONS: FDA has not reached any new conclusions about safety risks with incretin mimetic drugs. This early communication is intended only to inform the public and health care professionals that the Agency intends to obtain and evaluate this new information. FDA will participate in the National Institute of Diabetes and Digestive and Kidney Diseases (NIDDK) and National Cancer Institute's (NCI) Workshop on Pancreatitis-Diabetes-Pancreatic Cancer in June 2013 to gather and share additional information. FDA will communicate its final conclusions and recommendations when its review is complete or when the Agency has additional information to report.
The Warnings and Precautions section of drug labels and patient Medication Guides for incretin mimetics contain warnings about the risk of acute pancreatitis. FDA has not previously communicated about the potential risk of pre-cancerous findings of the pancreas with incretin mimetics. FDA has not concluded these drugs may cause or contribute to the development of pancreatic cancer.
At this time, patients should continue to take their medicine as directed until they talk to their health care professional, and health care professionals should continue to follow the prescribing recommendations in the drug labels.
AB ve Çin iyi dağıtım uygulamalarını finalize ediyor
FDA'dan azitromisin uyarısı


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Machu Picchu Tours: How to Get There and Tips for Visiting
Here is everything you need to know to plan a trip to Machu Picchu.
By Lyn Mettler, Contributor Sept. 24, 2019
By Lyn Mettler, Contributor Sept. 24, 2019, at 9:25 a.m.
A hike around Machu Picchu is a must-do if you're visiting Cusco, Peru.(Getty Images)
Machu Picchu is thought to be one of the largest and most impressive Incan cities of its time. Today a UNESCO World Heritage Site with expansive ruins open to visitors, it sits high on a peak in the Peruvian Andes and is accessed via train or on foot. Here are some tips to help you navigate a visit to this incredible archeological site.
What is Machu Picchu? Machu Picchu is a 15th-century Incan city that was abandoned by the Incas after the Spanish conquest. The ruins feature about 200 structures that were used for religious, agricultural, astronomical and ceremonial purposes, though exactly how remains a mystery. It's believed that between 300 and 1,000 people inhabited the city and the area was devoted to the worship of the sun god.
Where is Machu Picchu? Machu Picchu is located in the Peruvian Andes within a tropical mountain forest at nearly 8,000 feet above sea level. Cusco, the nearest major city, is less than 50 miles southeast of Machu Picchu.
When was Machu Picchu built? Historians believe that Machu Picchu was built in the 15th century.
How do you get to Machu Picchu? Machu Picchu can be reached a variety of ways, including hiking the Inca Trail with a tour company, by train or by bus.
When is the best time to visit Machu Picchu? The site is located in the Amazon rainforest in Peru, where the rainy season runs from November to March. To avoid rain, travelers may want to visit during its dry season from April to October. Travelers say that June through August tends to be the busiest, so opting for shoulder months like May or October may help avoid crowds.
What: Machu Picchu tours
When: Machu Picchu is accessible daily with entrances from 6 a.m. to noon or noon to 5:30 p.m. During the month of February, the Inca Trail is closed for maintenance and is inaccessible to visitors.
Cost: Entrance tickets cost approximately 152 Peruvian soles (about $45) for adults; 77 soles (around $23) for students.
Must-know tip: To tour Machu Picchu, you must purchase your ticket online in advance and print it out as no tickets are sold at the site. Experts and fellow travelers recommend purchasing your ticket several months in advance as there only 2,500 visitors allowed per day. If you choose to visit with an organized tour company, the company will take care of reserving and purchasing the ticket for you.
Website: https://www.machupicchu.gob.pe/inicio
When visiting Machu Picchu, you will be given a specific time you can enter the site. Key attractions include the Temple of the Sun, the Room of the Three Windows, the water irrigation system and the Royal Mausoleum. There is an additional fee to visit the mountains of Machu Picchu and Huayna Picchu, which surround the old city, should you want to hike trails there. After you purchase your ticket – either to Machu Picchu or the site with one of the mountains – be sure to print your ticket and bring it with you along with identification, such as a passport.
Restrooms are located outside the entrance and cost about 2 soles (around 60 cents) to use; there are no restrooms within Machu Picchu. There's no visitor center, but Peru's Ministry of Culture does have an office in Aguas Calientes, a town that acts as the gateway to Machu Picchu. There are also a variety of restaurants in Aguas Calienties to refuel after your trip. Be aware, you also may not be allowed to bring single-use plastics (like sandwich bags) or large bags into the site. If you do bring a large bag, there is a bag storage facility near the site's entrance where you can leave your bag for a small fee as you explore the site.
Machu Picchu is located less than 50 miles northwest of Cusco, a Peruvian city which is also a UNESCO World Heritage Site. Cusco can make a great base for your visit to Machu Picchu as many organized tours to the site begin here.
Since Machu Picchu and Cusco sit at high elevations, almost 8,000 feet above sea level, travelers should prepare for altitude sickness. Talk to your doctor before your trip to make sure your body can handle the altitude change. When you arrive, help your body adjust by getting plenty of rest for the first few days, avoiding alcoholic beverages and drinking lots of water to remain hydrated. You should also plan to wear insect repellent and plenty of sunscreen for the trek. Travelers also recommend dressing in layers and wearing pants and long sleeves, even if the weather is warm, as the mosquitos are known to be relentless.
Though you can opt to visit Machu Picchu (and make the necessary travel arrangements) by yourself, a guided tour can help streamline the process. Multiple tour operators offer daytrips to Machu Picchu. The majority of these tours originate in Cusco and leave early in the morning (at or before 5 a.m.). You'll be taken via bus to the town of Ollantaytambo, where groups board trains to Aguas Calientes. From Aguas Calientes, groups board a bus to Machu Picchu. Travelers generally spend approximately two hours at the site before they begin the trip back to Cusco. Exact tour prices vary, though you can expect to spend approximately $300 per person (including train tickets, bus fare and a guided tour of the site). Travelers generally enjoy the tours, extolling the knowledgeable guides, and appreciate the ease by which they could see Machu Picchu. Others caution selecting your tour company carefully as experiences can vary wildly from company to company.
Travelers can also opt to hike from Aguas Calientes to Machu Picchu on their own via the Carretera Hiram Bingham. The approximately 4-mile journey is a steep climb and can be completed in around 90 minutes. Though an option, most travelers say the walk is long, difficult and lacking in scenery.
Tourists who have ample time, or have a true adventure streak, can hike the Inca Trail to Machu Picchu. The approximately 25-mile trail takes about four days to hike and ends at Machu Picchu. To hike the Inca Trail, you must go with a tour company or hire a guide, as it is no longer permitted to hike the trail on your own. Keep in mind that the trail closes each February for maintenance. Tours can last as little as two days (for an abbreviated journey along the trail) or more than a week to experience additional Peruvian sites.
There are a variety of other attractions and ancient sites nearby Machu Picchu that you may want to add to your itinerary. Titicaca Lake, located at more than 12,000 feet above sea level, is the largest lake by volume in South America. The town of Cusco also has much to see, including cathedrals, temples and a plaza used in Incan times, along with many archeological sites. Take advantage of the Cusco Tourist Ticket (also known as Boleto Turistico del Cusco), which grants access to many of Cusco's attractions for one fee.
You can reach Machu Picchu by foot, train or bus, though if arriving by train, your ride will end in Aguas Calientes and you will need to ride a bus or hike approximately 4 miles to access the site. You can take a train from one of several stations near Cusco to the city of Aguas Calientes and then ride a bus to Machu Picchu. (Note: Since these train stations are outside Cusco city proper, you'll need to take a bus to get to them). The train ride via Peru Rail takes about four hours and you can choose from a variety of train types, each with a different price point to accommodate any travel budget. Tickets for Peru Rail are available at PeruRail.com.
You can buy bus tickets from Aguas Calientes to Machu Picchu in advance in Cusco at the Consettur offices, which helps you avoid lines at the actual bus stop. Buses depart from Aguas Calientes approximately every 15 minutes beginning at 5:30 a.m. daily until 3:30 p.m. Visitors recommend getting in line for the bus several hours before your scheduled entrance time at Machu Picchu as lines can be extremely long. Some travelers report getting in line three hours before their scheduled entrance time. You'll also likely encounter lines to take the bus from Machu Picchu back to Aguas Calientes.
Additional tour options:
CuscoPeru: Full-Day Private Machu Picchu Guided Tour from Cusco. View & Book Tickets »
Viajes Pacifico: Machu Picchu Day Trip. View & Book Tickets »
Viajes Peru: Day Tour to Machu Picchu The Inca City. View & Book Tickets »
Machupicchu Latin America: 2-Day Tour: Sacred Valley and Machu Picchu by Train. View & Book Tickets »
Inkayni Peru Tours: Full day. View & Book Tickets »
Looking for more information on Machu Picchu? Check out the U.S. News Travel Cusco guide.
Lyn Mettler, Contributor
Lyn Mettler has written for U.S. News since 2014 covering a range of travel topics, including ... Read more
Tags: tours, travel, vacations, Peru


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Eric Armit's Snips and Snipes
I was as surprised as anyone over the announcement of the Gennady Golovkin vs. Kell Brook fight and my initial reaction was that it was not the right fight for Brook in the same way the Amir Khan vs. Saul Alvarez struck me. I admire the courage and confidence in Brook that has seen him take a fight that fear, or in the case of Chris Eubank Snr and Jr. stupid arrogance, has led to others turning it down. For Khan I felt that Alvarez would be too big, too strong and too hard a puncher for Khan to have any chance of winning. Khan fought a brilliant tactical fight for five rounds but in the end all of my fears were borne out. I have heard people say that this will not be the same as the Alvarez vs. Khan fight. I accept that no two fights are identical and that Brook is a big welter going up to middle whereas Khan was more of a big lightweight going up to middle but the difference are not all pluses. As I understand it there will be no false weight limits so Golovkin will not have to come down to 155 or 156lbs he will be a full middleweight. The biggest difference is the contrasting styles of Alvarez and Golovkin. Alvarez is not quick. He is a grinder a one-paced-get to you eventually tank. Golovkin has real foot and hand speed and is a ferocious hunter. He does not give the other fighter the chance to apply his own tactics. He is in his face from the first bell and can take opponents out with one punch from either hand. He will have height and reach in his favour and although Brook has the makings of a great welterweight champion the step-up from Shawn Porter, Ionut Dan Ion, Frankie Gavin and Kevin Bizier to Golovkin is for me a step too far. I am British and hope Brook comes out on top but I am also Scottish so whatever the odds my money will stay in my sporran.
The focus on the rights or wrongs of Golovkin vs. Brook have overshadowed an even more questionable match with Charlie Edwards being allowed to challenge John Riel Casimero for the IBF flyweight title. Edwards was an outstanding amateur and is a great prospect but there is nothing in his seven wins to merit a rating let alone a shot at the title. Let's face it Louis Norman, Phil Smith and Luke Wilton, his last three opponents, are good learning fights for a young prospect just starting out in the pro ranks but that is all. In his last fight in February he won the WBC International Silver title and the WBC have awarded him the No 36 spot in their ratings. The IBF were not impressed with that win until they got the sniff of a sanctioning fee. They did not put Edwards in their March, April or May ratings but in their June ratings, published 5 July, Edwards suddenly appears at No 14 not having fought for five months. Blatant manipulation and whether it benefits a British fighter or not it is just basically dishonest. As for Casimero he is not a Golovkin, but then who is. He is a small flyweight but is a very tough fighter and he won't be intimidated by a hostile crowd. When he beat Luis Lazarte for the interim IBF light fly title in 2012 the atmosphere was so hostile Lazarte actually mentioned to Casimero during the fight that he might not get out alive if he won and indeed there was a serious riot when he was declared the winner.
Another case of focusing on the wrong ball is the fuss over the AIBA allowing professionals to fight at the Olympics. Yes it is a significant indication of their intent but at this stage small scale and largely ignored by professional fighters. The real uncovering of the AIBA's intent to become yet another sanctioning body will come when they stage the World Championships. They will have plenty of time to plan out what they want to do and also have total control of the Championships. They don't have to pay lip service to the Olympic Committee they can make the World Championships a fully profession tournament and no one can stop them from doing so-except the affiliated national associations-and they have already approved professionals in the Olympics so are on the slippery slope of putting themselves out of business. What government is going to grant money to maintain an elite squad to compete against professionals? There are already signs of the impact of the policy of allowing professionals in the Olympics. Kenya failed to get any fighters through the earlier qualifiers but wanted financing to send fighters to the last chance qualifiers in Venezuelan. In simple terms they were told that if their boxers could not get through the earlier qualifiers there was no chance they would do so with professionals added to the mix so no money was forthcoming. Any government which funds sports is investing in the hope of some good results which would reflect favourably on their country but they are not going to want to throw money away if there is no hope of a return.
I was not surprised to see the AIBA and the WBA putting their heads together. Good luck to them, they deserve each other. Any cooperation will only go so far as both Dr Wu and Gilberto Mendoza are much too attached to their powerful positions to share any of that power. The final communiqué talked about "Both AIBA and WBA have agreed to envisage future partnerships covering all aspects of boxing from event organisation, boxer management and new championships, to training courses." And I picked up on the words "new championships" and I saw more titles, more sanction fees, more confusion etc. Our sport is changing constantly but not always for the better.
I am not sure I am happy to see Manny Pacquiao coming back. I feel he had done everything he needed to do and beating Danny Garcia or Jessie Vargas will neither hurt nor enhance his reputation and the thought of a possible return match with Mayweather turns me off. He is still big money so why not return and make even more money. I did find his dismissal of there being any impact on his Senate work amusing. If he can fit-in an exhausting and intensive training schedule-and it takes more time the older you get- and everything else involved in a return to the ring without it impacting on his senate work it might just make some Filipino's question just how work politicians do for there money. Pacquiao vs. Brook now that would have been a much better fight. Pity it was not on the table.
It appears Sergey Kovalev was suffering from laryngitis when he went into training for his fight with Isaac Chilemba which might explain his uninspiring performance. Credit to Chilemba-he never made it easy for Kovalev, but the "Krusher" seemed to be lacking a degree of aggression and will have to have a better night when he fights Andre Ward. A very generous Kovalev said he was going to donate his purse from the Chilemba fight to the family of Roman Simakov. Kovalev halted Simakov in seven rounds in December 2011 in a fight for the WBC Asian Boxing Council title. Simakov was hospitalised after the fight and in a coma and died a few days later without coming out of the coma.
The EBU may be nearing break point with the German DBD over Erkan Teper. When Teper won the European title he, his management and the DBD signed an agreement to abide by the EBU rules which called for testing by WADA and a two year suspension for a positive test. Teper reportedly gave a positive test when beating David Price and was put on the EBU suspensions list showing him suspended until 17 July 2017. He is contesting his positive test with the DBD and had a fight this month claiming that his suspension only affects him if he wants to fight for the EBU title. The EBU has downgraded the DBD to a "provisional member" and the DBD no longer has anyone on the Board of the EBU. If a full break does happen it will be a huge blow to the DBD. There will be other organisations in Germany looking to take their place but there is a question as to whether they are any better than the DBD so it is an unclear picture and again shows how difficult it is for our sport to police drug cheats.
The WBC has been doing some good work in Ghana. They recently adopted a farming community in the Volta Region of Ghana and will work with a non-government organisation focusing on health, education, sports and sanitation putting the WBC's world reach to good use. In addition they also made a grant of $4,800 to former champion David "Poison" Kotey who has fallen on hard times. It took me a long time to forgive Kotey for beating my hero Ruben Olivares for the WBC feather title in 1975. He lost his title to Danny Lopez in 1976 in his third defence and was also an undefeated Commonwealth champion. The WBC simultaneously made a grant of $3,600 to former WBC International and Commonwealth champion Ebo Danquah. The presentation of the grants was made by the head of the Ghana Board Peter Zwennes who had worked hard to get the grants made. Two excellent gestures by the WBC.
Less happy for boxing in Ghana was the arrest of Braimah Kamoko. He allegedly attacked a man with the flat plane of a machete but at the time of writing no charge sheet had formally been drawn up. Just a few years back it looked as though the WBO was going to make Kamoko the mandatory challenger to Nathan Cleverly but that faded away as there are serious questions over Kamoko's eyesight. The 36-year-old "Bukom Bantu" is unbeaten in 29 fights but has never fought outside Ghana.
Still on Africa Malcolm Klassen, who has had two reigns as IBF super feather champion, is looking to add another world title as he challenges Australian/Filipino Jack Asis for the IBO title in Johannesburg on 29 July. The 34-year-old Klassen has scored recent victories over Justin Savi, Paulus Moses and Leonilo Miranda but the 33-year-old Asis, making the first defence of his IBO title is 14-0-1in his last 15 fights so a real 50/50 one here.
Also a nice show taking place in Kempton Park, South Africa on 24 July which will see Shaun Ness defending his national title against his BSA No 3 rated challenger Ntuthuko Memela with light flyweight prospect Deejay Kriel facing Ayanda Dulani to try to cancel out the draw when they fought each other in April.
It was a very mixed week for former IBF super middle champion Graciano Rocchigiani. He put on a small hall show in Mitte, Germany that was well received but was also charged with allegedly extorting Euro 5,000 from a promoter. Trouble is nothing new for either of the Rocchigiani brothers.
Manuel Charr will continue his comeback with a fight in Toronto on 10 September. The former WBC heavyweight title challenger was wounded in shooting in September last year but recovered and returned with a win in June. His opponent will be Toronto-based Ukrainian Olek Teslenko. The 23-year-old, 6'4" Teslenko, a runner-up in the Ukrainian amateur championships, has five wins but they have all been over quickly so he has had less than ten rounds of boxing and he will be giving away weight to Charr.
Fights coming up. This Sunday in yet another bit of madness Pakistani boxer Muhammad Waseem faces Filipino Jeter Olivo for the vacant WBC Silver flyweight title. Waseem has had only three fights and neither fighter is in the WBC top 40 but the winner could find himself rated in their top 10 due to the importance the WBC place on their Silver titles. That's makes no sense except nonsense.
Under the Terrence Crawford vs. Viktor Postol unification match on 23 July Oscar Valdez and Matias Rueda clash for the vacant WBO feather title with Jose Benavidez facing Francisco Santana and Olek Gvozdyk meeting Tommy Karpency. On 13 August Edis Tatli defends his EBU title against Spanish champion Cristian Morales. September 9 in Moscow Eduard Troyanovsky defends his IBF super light title against Keita Obara. September 10 Los Angeles Roman Gonzalez goes for a fourth division title as he challenges Carlos Cuadras for the WBC super fly title in a real clash of styles and perhaps the biggest test so far for the Nicaraguan wonder. September 16 in Osaka Shinsuke Yamanaka makes the tenth defence of his WBC bantam title against Anselmo Moreno who he beat on a split verdict last September and Hozumi Hasegawa challenges Hugo Ruiz for the WBC super bantam title. If 35-year-old Hasegawa wins he will be the eldest Japanese fighter to win a world title. September 24 will see WBO light fly champion Donnie Nietes in his biggest fight as he challenges Mexican Juan Francisco Estrada for the WBA and WBO flyweight titles. Nietes is unbeaten in his last 30 fights and has yet to taste defeat in 15 title fights over two divisions but the big career defining fights have passed him by so he needs this win.


text:
Q: NFC SNEP Push Fragmentation - ACR122U to Android ICS P2P How is it done? The documentation is unclear and there are no examples.
What I do is the following..
I chop off the data into small fragments and then I send the fragments sequentially. The SNEP header is only included once in the first fragment. Do I need to change something in my SNEP header or LLCP? I don't understand how LLCP should be changed to make android understand the sequence of the messages? After the whole message is sent, android does not acknowledge receiving the message.
Examples would be much appreciated.
C# Desktop application trying to send data through NFC Peer-to-Peer to an android ICS running on an SIII. The contact-less smart card reader is an ACS ACR-122U/T

A: SNEP Fragmentation needs to be implemented. LLCP Sequences numbers need to be taken care of and finally, I think there should be some acknowledgement messages in between fragments which is where I'm going wrong.

A: You need to implement SNEP fragmentation and encapsulate the fragments in LLCP frames. Read about the LLCP protocol in the NFC forum.

A: Yes, is exactly like you describe.
They change between them consecutive chunks like is specified in the SNEP protocol
Check this classes, i've tested them and works fine in 4.0.4 (not working on => 4.1)


In time for Constitution Day (Sept. 17), Annenberg Classroom has released new three videos for teachers, classes, and anyone interested in discovering more about our civil liberties, legal protections, and fundamental rights. In addition, a popular online course about the Constitution taught by University of Pennsylvania scholar Kermit Roosevelt is being brought back this month.
The new videos focus on constitutional protections and the rule of law. "Habeas Corpus: The Guantanamo Cases," examines four major Guantanamo Bay cases arising out of the detention of prisoners suspected of terrorism in the post-9/11 era, all of which were decided by the U.S. Supreme Court. In another video, "A Conversation on the Constitution: Miranda v. Arizona," Supreme Court Justice Anthony M. Kennedy talks with students about the constitutional protection against self-incrimination. "Magna Carta," the third video, considers the history of one of the most important documents in the history of democracy on the occasion of its 800th anniversary.
The constitutional law course developed by Kermit Roosevelt, a constitutional law scholar at the University of Pennsylvania, in partnership with the Annenberg Public Policy Center, is being offered this month, starting on Sept. 21. The eight-week course, "Introduction to Key Constitutional Concepts and Supreme Court Cases," was offered for the first time in the fall of 2014, when more than 8,000 people watched at least one of the video lectures.
The MOOC, or massive open online course, is offered free as part of the Penn Open Learning initiative, through the Coursera platform. Click here to enroll, get more information, and preview a lecture. Selected lectures are also available at Annenberg Classroom as classroom resources.
One of our oldest human rights, habeas corpus safeguards individual freedom by preventing unlawful or arbitrary imprisonment. This documentary examines habeas corpus and the separation of powers in the aftermath of the 9/11 attacks as the Supreme Court tried to strike a balance between the president's duty to protect the nation and the constitutional protection of civil liberties when it ruled in four major Guantanamo Bay cases: Hamdi v. Rumsfeld (2004), Rumsfeld v. Bush (2004), Hamdan v. Rumsfeld (2006) and Boumediene v. Bush (2008). A lesson plan, Rights at Risk in Wartime, accompanies the video.
Magna Carta is one of the most important documents in the history of democracy. A declaration of rights by English barons who demanded that the monarchy recognize their rights in a written document and disseminate them to all freemen, Magna Carta was the inspiration and historical precedent for the Declaration of Independence and the Constitution.
The new videos join an extensive library of videos at Annenberg Classroom that can be used as classroom resources, including a conversation with Supreme Court Justice Ruth Bader Ginsburg about the 14th Amendment, which originally protected the rights of former slaves; Justice Stephen G. Breyer talking with high school students about the role of dissenting opinions in Supreme Court cases; and a series of short videos on the Bill of Rights.


text:
Q: MongoDB - How to reference document's field value Documents look like this:
[{
  quantity, 15,
  limit: 15
},
{
  quantity: 4,
  limit: 5
},
{
  quantity: 3,
  limit: 3,
}]

I need to find a document whose quantity is less than its limit. All documents have different quantities and limits.
How can I find a document whose quantity is less than its limit without knowing the document's limit?

A: Work with $expr to access the field value and use of aggregation operator.
db.collection.find({
  $expr: {
    $lt: [
      "$quantity",
      "$limit"
    ]
  }
})

Sample Mongo Playground (Query)

For aggregation query:
db.collection.aggregate([
  {
    $match: {
      $expr: {
        $lt: [
          "$quantity",
          "$limit"
        ]
      }
    }
  }
])

Sample Mongo Playground (Aggregation Query)


text:
Островская Щель — хутор в Туапсинском районе Краснодарского края.

Входит в состав Шаумянского сельского поселения.

География
Хутор расположен в 7 км от села Шаумян, в 2 км от станции Гойтх СКЖД и в 44 км от города Туапсе.

История
Хутор Островская Щель по ревизии от 26 апреля 1923 года числился в списках Хадыженской волости Майкопского отдела Кубано-Черноморской области.

С 10 марта 1925 года хутор Островская Щель числился в составе Елисаветпольского сельского Совета Армянского района Северо-Кавказского края, а с 1938 года в составе Шаумянского сельского Совета Армянского района.

С 22 августа 1953 года — в составе Шаумянского сельского Совета Туапсинского района.

В 1972 году хутор имел 35 дворов.

Население

Улицы
 ул. Лесная,
 ул. Озёрная,
 ул. Речная,
 ул. Центральная.

Ссылки

Примечания

Населённые пункты Туапсинского района


New Age was primarily a movement amongst the younger generation in the late sixties that demanded to play a greater part in all aspects of society. Through the use of mind-expanding drugs a greater reality was being unfolded to them that called for other explanations than traditional religion could give. Its concepts of God and Love were too narrow to accommodate the overwhelming experiences they had on their trips. Transcendence, self-realisation, yoga, meditation, all part of existing traditions, were being rediscovered and practised.
Originally it had been given the name: the Age of Aquarius to signify the new era of spiritual enfoldment as foretold in astrology.
In the early seventies, when the movement was well on its way, the name New Age was adopted. Of course it was a term with whiskers on. William Blake schreef al in 1804-08, in zijn voorwoord van Milton: "Rouze up, O Young Men of the New Age!
As might be expected New Age unleashed counter-forces from the side of fundamentalist Christian denominations. Especially after Marilyn Ferguson wrote in her book The Aquarian Conspiracy that the fraternity dedicated to this philosophy constituted a worldwide network. Dedicated persons would recognize each other in a few minutes without secret signs, but merely by a short exchange of ideas. This was seen as a sort of Satanic conspiracy. Especially people who followed so-called occult practices came under suspicion. The orthodox Christian establishment found allies in the equally dogmatic Sceptics and members of CSICOP in their efforts to suppress and misrepresent New Age and occultism in the media.
But in effect it were the Christians who started misrepresenting the life of Jesus. This is the conclusion of some modern biblical scholars. The oldest document of the Jesus tradition that survived is that of the Thomas gospel, part of the Nag Hammadi papers discovered in Egypt in 1945. In it a gnostic Jesus comes forward that has more affinity with the New Age than the fundamentalism of extremist Christianity.
Christians consider the Bible the word of God whereas a little research shows that the oldest 4th century codices we have is the product of countless copying errors, inconsistencies, alterations and invention of fairy tale-like stories, often borrowed from pagan sources, to instill awe in the figure of Jesus who supposedly endorsed their dogmatic views but who may have been a heretic himself. For one thing, the gospels were not written by the apostles. The most important event in Jesus life, the crucifixion, may not even have taken place. It is not mentioned in the oldest first century documents. The later Christians instilled fear in followers with their prediction of the end of the world to come in in their lifetime, started bloody persecution of heretics and Jews. Thus they made a mockery of what their supposed founder taught.
New Age has not traveled to the end of the road yet. It is reaching a stage of maturity in which wheat is being separated from the corn. Yet, it still comprises a broad spectrum of activities from the commercial rip-off to unselfish dedication to serve mankind spiritually. Many do not wish to be associated with the name because it reminds them of the turbulence associated with the uprising of the younger generation in the late sixties and the lamentable drug excrescences.
One may pray that the movement will sustain its original purity and raise high the spirit of new generations, giving it an immense vista of life and a purpose to live for.


In the fossil record, it is rare that you come across preservation as fine as this. This specimen is approximately 340 million years old and is of a shrimp like creature. The preservation is so fine that it's legs, antennae and even its eye has been preserved ! The specimen has been preserved on a block of oil shale from a classic location which was collected many years ago. A true collectors piece!!


text:
FIELD DAY SCULPTURE FROM BRITAIN
CORNER FOR KASIMIR 1992
Antony Gormley (1950 – )
LEAD, FIBREGLASS, PLASTER AND AIR
In St Petersburg in 1915, the Russian artist Kasimir Malevich (1878–1935) hung a white-bordered black square in the top corner of a gallery, where two walls met the ceiling. In a country with an Orthodox Christian heritage, this was the space usually reserved for an ikon of Christ, benevolently watching over the rooms of the devout; a commanding, visible position now reserved for CCTV cameras in art galleries. Gormley has referred to this piece, Black Square[1], throughout what he describes as a "dialogue"[2] with the Russian that includes Drawn (2000/2007), a set of eight cast iron figures bent at the hip into unnatural 90-degree angles so as to fill all of the corners of a rectangular room, top and bottom. When Jacky Klein suggested they might refer to yoga, Gormley replied "I think it has much more to do with crucifixion, pushing the body to conform to a given structure." [3]
The body pushed into these bizarre positions is Gormley's own. Eyeless, mouthless, and punctuated by the welded lines join iron to iron, the form has become a ubiquitous, instantly-recognisable brand. W. J. T. Mitchell was tempted to call the expanding horde "gormlems":
"sculptural 'clones', identical copies of an absent original that may be infinitely multiplied."[4]
Field, Gormley's army of clay blob-people, perhaps knowingly riffs on this idea.
In examining Tracey Emin's use of her own body, critics look to biographical elements relating to her sex life and provincial upbringing. For Gormley's use of his, they look to an education in Sculpture at Goldsmiths and the Central School, in Anthropology & History of Art at Trinity, College Cambridge, and in Near and Middle Eastern culture whilst travelling and studying meditation. The "gormlem" may indeed approach something similar to the "common world-language of form" Henry Moore sought in the British Museum: a human common denominator across religions and cultures.
In A Corner for Kasimir form, it draws on the same ideas of physical and spiritual presence Malevich found in the image of crucifixion; the head lolls forward onto the chest as the arms spread, the legs join as if nailed. Fixed on the wooden beams of its British Council travel case, and wrapped in its protective paper headdress, the Corner looks especially like a Man of Sorrows.
These are external to the piece, however, and it is in fact this sense of interiority that dominates Gormley's work.[5] As a teenager, he began a "dialogue" with E. H. Gombrich's The Story of Art (1950), a book which can be seen as accounting for his interests in the history of art as an essentially human story, drawing on different cultural traditions. As part of a career spent responding to what he saw as the book's central question – 'What is the adequate challenge to the life of an artist?' – Gormley was interviewed by Gombrich,[6] and outlined an even earlier source of this sense of iron-clad, inward space:
"There was a repeated sensation that I had as a child before sleep, which was that the space behind my eyes was incredibly tight, a tiny, dark matchbox, suffocating in its claustrophobic imprisonment. And slowly the space would expand and expand until it was enormous. In a way I feel that experience is still the basis of my work."[7]
Tom Overton, 2010.
[1](1915; Moscow, Tret'yakov Gallery)
[2] 'Field Activities: A Conversation Between Anthony Gormley, Ralph Rugoff and Jacky Klein', Anthony Vidler, Susan Stewart & W. J. T. Mitchell, Anthony Gormley: Blind Light (London: Hayward, 2007), pp.40-59; p.51.
[4] W. J. T. Mitchell, 'Architecture as Sculpture as Drawing: Anthony Gormley's Paragone', Ibid, p.116.
[5] John Hutchinson, E. H. Gombrich & Lela B. Njatin, Anthony Gormley (London: Phaidon, 1995), p.10.
[6] Stuart Jeffries, 'He made looking at art an adventure', The Guardian, 6th November 2001.
[7] E.H. Gombrich in conversation with Anthony Gormley, in John Hutchinson, E. H. Gombrich & Lela B. Njatin, Anthony Gormley (London: Phaidon, 1995), pp.6-30; pp.10-11.
To form material such as molten metal, liquid plaster or liquid plastic into a three-dimensional shape, by pouring into a mould. Also see Lost-wax casting.
The depiction of shapes and forms on a flat surface chiefly by means of lines although colour and shading may also be included. Materials most commonly used are pencil, ink, crayon, charcoal, chalk and pastel, although other materials, including paint, can be used in combination.
A three-dimensional work of art. Such works may be carved, modelled, constructed, or cast. Sculptures can also be described as assemblage, in the round, relief, and made in a huge variety of media. Contemporary practice also includes live elements, as in Gilbert & George 'Living Sculpture' as well as broadcast work, radio or sound sculpture.
DER AKT IN DER KUNST DES 20.JAHRHUNDERTS
Germany, Emden, Kunsthalle
Taiwan, Taipei, Taipei Fine Arts Museum
LE MUSEE A L'HEURE ANGLAISE
France, Valenciennes, Musee Des Beaux Arts
A CHANGED WORLD
Malta, Valletta, St James Cavalier Centre For Creativity
Cyprus, Nicosia, Nicosia Municipal Arts Centre
Zimbabwe, Bulawayo, National Gallery Of Zimbabwe In Bulawayo
South Africa, Cape Town, South African National Gallery
South Africa, Johannesburg, Johannesburg Art Gallery
Zimbabwe, Harare, National Gallery Of Zimbabwe
Pakistan, Lahore, The Old Fort
Pakistan, Karachi, Hindu Gymkhana
NEW ART FROM BRITAIN
Poland, Lodz, Muzeum Sztuki
UK, London, Serpentine Gallery


Stating that during the visit to Bushehr Province, 1.5 trillion tomans was allocated to developmental projects in the province, President said, "I hope that all of these projects launch by the end of this government's term of office".
Speaking on Sunday evening in a press conference at the end of his visit to Bushehr Province, Dr Hassan Rouhani appreciated the warm hospitality of the people of Bushehr and Kangan City, and said, "Opening four phases of South Pars in one day is a great honour for the country".
He also referred to projects in agriculture, energy, tourism, industry, sport, and health, adding, "Opening these projects means that Bushehr is on the path to development".
"The government must pay high subsidies for desalinisation in the country," he said, stressing that the government will buy people's fresh water from investors who invest in these projects.
On the benefits of the people of Bushehr Province from South Pars projects, he said, "The people of Bushehr should benefit from this great national capital and the oil ministry is helping this happen".


Delivery on all your favorite Drops items. Just another way we are making online ordering more convenient. This is Drops. DELIVERY Don't want to leave your home or office? Having a party, or friends are over, and need some last minute items? No worries! Get your order delivered to your door. SELECT YOUR ITEMS Fulfill your cravings whenever they may hit with whatever they may be. We have a wide menu of our most popular items and are constantly adding new assortments. Go ahead and grab your favorite drink to get the party started! EASY PAY Easily view your order, confirm at checkout and securely pay with the most popular payment methods. Keep an eye out! We are quickly growing our delivery capabilities so that everyone can have a Drops app in their pocket.


text:
We Can Still Feel Their Tears in Our Hair by Kaitlyn Purcell
Images courtesy of the artist. BEWARE To the Indigenous people that may experience this space, please take care of yourself. We never deserved any of the pain that was passed down through being intergenerational survivors of Residential Schools. STAY OUT is written primarily to…
YYZ, October 9, 2021 7 min read
The three-body threshold or, Between the artists, the transcriber, and the viewer by Brendan A. de Montigny
Images courtesy of the artist. The three-body threshold or, Between the artists, the transcriber, and the viewer. By Brendan A. de Montigny Technical Points of Entry = Between Time + Space (All our wonder, unavenged) Location / ~120,000 light-years wide spiral galaxy with a bar-shaped…
YYZ, October 2, 2021 13 min read
Nothing to lose but our selves by C.W. Crawford
Image designed in collaboration with Jessica Negus. Image courtesy of the artist. I should begin by telling you that I won't see it's what's inside that counts by Christine Negus in person. And from what Christine tells me, due to public health orders, vaccine supply…
YYZ, July 10, 2021 11 min read
Snail's Space by August Klintberg
Images courtesy of the artist. Behind each fold and fringe is a flirtation – or is it a fabulation? Contours out of sight are shaped behind and within each form. There are folded and flat irregularly shaped panels. There are wig-like curtains. A fringe…
YYZ, July 10, 2021 8 min read
Pockets for air by Karina Irvine
Pockets for air by Karina Irvine …there is some action of cutting through surfaces to a site that has no business being underneath. What is the future doing underneath the past? —Anne Carson, Cassandra Float Can The main characteristic of foam is that it is…
YYZ, February 4, 2021 7 min read
Yesterday Today Tomorrow By Steven Matijcio
Yesterday Today Tomorrow by Steven Matijcio The institution of nation-states and their corresponding borders are as much a product of settlement, politics, colonization, conflicts, and treaties, as they are mythology, ideologies, and projection. Where lines are drawn and where citizenship begins, and ends, are human…
YYZ, January 28, 2021 11 min read
The Narrative and Repertoires of Resistance by Noor Bhangu
The Narrative and Repertoires of Resistance by Noor Bhangu These past decades, when reality and hope has become estranged for those blistering under the sun of the empire, many have found themselves turning to history to seek out narratives of resistance and survival. For Scheherazade,…
Tracing a line by Jenn Law
Tracing a line by Jenn Law "Where are we to put the limit between the body and the world, since the world is flesh?" ~Maurice Merleau-Ponty, The Visible and the Invisible, 1964 In many places, a rock with an unbroken line running through it…
Salvador Alanis: Blue. Orange. Yellow. Line Scapes and Landscape.
Blue. Orange. Yellow. Line Scapes and Landscape. by Salvador Alanis In a recent interview, Galia Eibenschutz recounts the challenges she faced during her training as an artist. She belongs to an unusual generation of Mexican artists who emerged in the 90s, such as Damián Ortega,…
Structures for the Expanded Plane By Emma Healey
Structures for the Expanded Plane, 2019, c-print, dimensions variable. Image courtesy of the artist. Structures for the Expanded Plane by Emma Healy Chris Foster tells me about his favourite billboard. On a recent vacation, he and his partner, the artist Layne Hinton, were driving from…


Mon., April 15, 2019 2:16 p.m. | Monday, April 15, 2019 2:16 p.m.
A Fayette County man who allegedly threatened his girlfriend and her five children with a handgun last month has also been accused by state police of possessing crack cocaine and marijuana.
Rasheme L. Jones, 38, of Uniontown, is charged with multiple counts of manufacturing and delivery of a controlled substance, possession of a controlled substance and possession of drug paraphernalia, as well as five counts of child endangerment in connection with the March 2 incident.
He was arraigned Friday before District Judge Michael Metros and ordered held in the county prison after failing to post $150,000 bail pending a preliminary hearing April 24.
State police in Uniontown said troopers were summoned to Jones' girlfriend's apartment on the 100 block of Morgatown Street at 6:47 a.m. March 2 after receiving a call that Jones was actively threatening his girlfriend and her five children with a firearm.
When police arrived, Trooper Ronald Harris said they found the children unharmed. Police said Jones was taken into custody outside the residence as he attempted to flee. Harris said in court documents police discovered Jones was in possession of crack cocaine and marijuana.
Troopers returned to the residence later with a search warrant and seized multiple prescription pills, two electronic digital scales with cocaine residue on them, three cellular telephones, marijuana smoking pipes, a glass bong, numerous plastic baggies and a "Night Owl" surveillance system.


The Annual 10x10 Show at the Atsui Gallery opening November 5, 2010 and coinciding with the East Side Culture Crawl.
"I find inspiration in many things but mostly through natural science, debris, and mythology, the gesture of dancers, graphs, politics and dreams. I draw to get back to basics, to the initial mark making process with carbon, the fundamental molecule of all life. I also enjoy manipulating materials and discovering what each has to say about this place we share".


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Windygates is a small village and surrounding district in central Fife, Scotland.

The district encompasses the following villages, farms and estates; Wellsgreen Farm, Little Lun Farm, Woodbank Farm, The Maw (a former mining community on the Standing Stane Road), Cameron Farm, Isabella (an abandoned mine), Smithyhill, Cameron Bridge, Bridgend, Durie Estate, Duniface Farm, Haughmill (a former weaving community), Drumcaldie, The Meetings (confluence of rivers Leven and Ore), Bankhead of Balcurvie Farm, Fernhill, Fernbank (both former farms), Balcurvie village (a former weaving community), Little Balcurvie (now known as the small holdings), Hawthorn Bank, Kennowayburns and Windygates village itself.

Housing demands of the 20th century brought all of these, almost forgotten identities, together into a district now commonly known as Windygates.

Windygates is off the A911, west of its sister village Milton of Balgonie, north of Kirkcaldy on the A915 and south of Kennoway on the A916.

The Windygates Hotel at the village cross was originally a coaching inn, and there were toll gates at the cross until the late 19th century, when the village grew to accommodate the nearby Cameron Bridge distillery.

Famous residents
Historian Gordon Donaldson lived his final years in Windygates and died there.

References

Sources
Scottish Places

External links

Villages in Fife
Levenmouth


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