I started at the base of Loon Mountains Ski resort (which is still open) and hiked up the left side of the left most ski trails. The Brookway ski trail was well groomed packed powder and I soon reached the Lower and Upper Walking Boss ski trail. As elevation increased the trail became steeper and icier making some sort of traction device essential. After reaching the ski area summit I encountered an Eastward trail that (I assume) connects Loon to Black Mountain. I followed the trail until it made a distinct left (North) and headed the direction of Black Mountain. The bushwhack began here and I headed due east to the indistinct dome summit of West Scar Ridge.
We followed our footsteps back to the Loon Mountain Ski trails and made a brief stop at Loon Mountain North Peak.
Black Mountain Trail - start of bushwhack = 0.5 Mi.
Bushwhack to West Scar = 0.9 Mi.
Return to Loon Summit = 1.4 Mi.
Loon North Peak - Parking = 2.3 Mi.
I couldn't have asked for better conditions for both the weather and trails. Last night's cool temperatures and a 7:45 AM early start left a frozen crust of snow making walking conditions extremely friendly and gentle. The summit of the ski area was reached pretty quickly and our final destination, West Scar ridge could be seen looming a little over a mile away. This is considered one of the hardest mountains to access in the entire state however I found the gentle grade and relatively open woods much easier than expected.


text:
Maciej Cieśla (ur. 1988 w Szczecinie) – polski malarz współczesny tworzący pod pseudonimem Mecesla.

Życiorys
Absolwent Akademii Sztuk Pięknych we Wrocławiu, na wydziale malarstwa i rzeźby, w pracowni Piotra Błażejewskiego. Wcześniej uczęszczał na zajęcia do szczecińskiego akwarelisty i architekta Piotra Skłodowskiego. W okresie 2013/2016 ukształtował swój charakterystyczny styl, który obejmuje współczesny ekspresjonizm, neofowizm, symbolizm i abstrakcję. Jest artystą niedowidzącym z powodu choroby Stargardta.

Twórczość
Jego twórczość oscyluje między współczesnym ekspresjonizmem, abstrakcją i inspiracjami naturą, folklorem i tematyką społeczną.  Świat który kreuje w swoich pracach zawiera postaci zaczerpnięte z polskiego folkloru i fantastyki – jak fauny, rusałki, diabły leśne. Często porusza temat samej formy natury w pracach abstrakcyjnych, jak w serii "Strumień górski". Odnosi się także do życia miejskiego, czego przykładem jest seria obrazów "Po alkoholu", gdzie w sposób ironiczny przedstawia życie nocne. Pierwszym dużym wernisażem artysty był wernisaż pod tytułem "Szatan kobieta i Apokalipsa" w Domu Edyty Stein we Wrocławiu w 2015 r. Od 2017 roku kilkanaście jego obrazów znajduje się w Dreźnie, w galerii Abstrakte Momente. Współpracuje także z francuską galerią Singulart.

Serie malarskie
 Kompozycja z dziewczyną i psem
 Formy i kolory natury – "Górski strumień" i "Ściółka leśna"
 "Jagoda i Fauny"
 "Po alkoholu"
 "Wiolonczelistki"
 Portrety "Między archetypem a autoportretem"

Przypisy

Polscy malarze współcześni
Absolwenci Akademii Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
Urodzeni w 1988
Ludzie urodzeni w Szczecinie

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NBC Sports Chicago
How Kirby Dach, Alex Nylander injuries impact Blackhawks going into 2021
Charlie Roumeliotis
How Dach, Nylander injuries impact Blackhawks ahead of camp originally appeared on NBC Sports Chicago
The Blackhawks were hit with some unfortunate news going into the holidays, and it's not exactly the way they hoped 2021 would start, either.
On Wednesday morning, the team announced forward Alex Nylander will be out four-to-six months after undergoing knee surgery. Later at night, center Kirby Dach left Team Canada's exhibition game in the third period and reportedly suffered a fracture that will likely force him to miss NHL time.
Let's get this out of the way: Chicago made the right decision by letting Dach participate in the 2021 IIHF World Junior Championship, even though the worst-case scenario happened. This was a terrific opportunity for the 19-year-old to serve in a leadership role and captain Team Canada to a potential gold medal without interfering with his NHL schedule.
The Blackhawks didn't allow Dach to play in the tournament last season because they had playoff aspirations, and taking him away from the team for a few weeks would've sent the wrong message inside the locker room. But the 2020-21 season is clearly a developmental one, which made the decision a no-brainer for the Blackhawks to give Dach a chance to do what every Canadian kid dreams of accomplishing.
The two injuries impact the Blackhawks in different ways going into training camp, which begins on Jan. 3.
For Nylander, this was a crucial season for his personal development. He's technically still a prospect — on the final year of his entry-level deal — but he's approaching five years since being drafted No. 8 overall and the time is now for the 22-year-old winger to prove himself at the NHL level.
For Dach, this was going to be the year in which the Blackhawks gave him enormous responsibility after a breakout postseason in the Edmonton bubble, where he averaged 19:24 of ice time, second only to Patrick Kane (22:30) among team forwards. The organization was very much looking forward to seeing how a mentally and physically recharged Dach would handle this season, and just how big the step in his development was going to be from Year 1 to Year 2.
While it's unclear how much time he may miss, the compressed 56-game schedule in 116 days won't allow Dach the opportunity to ease back into the mix, although this won't be new to him after missing all of training camp last season because of a concussion. It just complicates the evaluation process for the Blackhawks, who were hoping to put the whole picture together by the end of the season, starting with his performance at the World Juniors.
So in a matter of 24 hours, the Blackhawks lost a top-six center in Dach for an unknown period of time and a prospect they're hoping can turn into a consistent top-six winger — top-nine, at least — in Nylander for potentially the entire season. We're all ready to turn the page on 2020.
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The last lie Tony Abbott told before this government was elected was that there would be no cuts to the ABC. It set the course for a relationship that reached an astounding low this week, one founded on deprivation and justified mistrust from the broadcaster.
Standing on the edge of a sports field in Penrith, he said a Coalition government would promise "no cuts to education, no cuts to health, no change to pensions, no change to the GST and no cuts to the ABC or SBS".
Since then, $254 million has been cut from the ABC. Another $84 million will be taken in a freeze on indexation. Across the same period, 600 staff have been lost.
The chaos at the ABC this week is not simply one of personalities. It is the result of five years of concerted interference by government, of public criticism and censure.
Perhaps the Coalition did not direct former chairman Justin Milne to "shoot" ABC political editor Andrew Probyn or "get rid of" chief economics correspondent Emma Alberici. They didn't need to.
Perhaps Milne never discussed with Malcolm Turnbull his view of Triple J's Australia Day broadcasts. He obviously knew the then prime minister well enough to know that changing those broadcasts would make him "ballistic".
The government's view on the ABC was so obvious that the chairman didn't believe it needed to be sought. And the chairman was so seemingly obsequious that he was happy to act in anticipation of it.
The view was obvious in the politicisation of the broadcaster's operations. It was there in a string of vexatious inquiries and loaded appointments, in the boycott of programs and the running commentary on stories.
It was there in Tony Abbott, as prime minister, accusing the ABC of "betrayal, if you like, of our country". It was there in him intervening in programming decisions, saying, "frankly, heads should roll". Both these statements would be extraordinary, save for the fact they became routine.
This campaign against independence was there in Peter Dutton saying the broadcaster was "dead" to him over its reporting of special arrangements for white South African farmers. It was there in the appointment of a communications minister who is also a member of the Institute of Public Affairs, a minister who 10 years ago was arguing in favour of privatising the broadcaster.
Milne didn't need anyone to tell him Probyn's reporting was "putting the future of the ABC at risk" and risking "half-a-billion dollars". The government had already let its pettiness be known, its willingness to trifle with the broadcaster's independence and punish it for its reporting.
A return to normal would be welcome. Perhaps the government could reinstate the ABC's funding, too, and leave its board appointments to an arms-length process. Perhaps it could reaffirm the broadcaster's editorial independence and cease this appalling campaign against it.
The ABC may be better without Milne and Michelle Guthrie, but it will not be itself without a change to how this government treats it.
This article was first published in the print edition of The Saturday Paper on Sep 29, 2018 as "Aunty maimed". Subscribe here.


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NYT Bestsellers
LibraryReads Picks
Book Club Favorites
Monthly Catalogs
Physical Processing
The Long Drop: A Novel
By Denise Mina
Read by David Monteath
Denise Mina Little, Brown & Company 9780316380577
Format: CD (In Stock)
2 Formats: CD
2 Formats: Library CD
Release: 05/23/2017 Release: 05/23/2017
Runtime: 7.31 Hours
ISBN: 9781478965596 ISBN: 9781478965565
0 copies
Category: Fiction/Thrillers/Suspense
Audience: Adult
Publisher: Little, Brown & Company Publisher: Little, Brown & Company
Winner of the 2017 Bloody Scotland Crime Novel of the Year Award
Shortlisted for the CWA Endeavor Historical Dagger
Shortlisted for the Theakston Old Peculier Crime Novel of the Year Award
A London Guardian Best Book of the Year for 2017
Finalist for the 2018 International Thriller Writers Award
A Boston Globe Best Books of the Year selection
Washington Post Top 10 Book of Books That We Loved
A BookPage Best Book of 2017
A Literary Hub Pick of Favorite Books of 2017
A stand-alone psychological thriller from the acclaimed author of the Alex Morrow novels that exposes the dark hearts of the guilty—and the innocent
The "trial of the century" in 1950s Glasgow is over. Peter Manuel has been found guilty of a string of murders and is waiting to die by hanging. But every good crime story has a beginning. Manuel's starts with the murder of William Watt's family. Looking no further that Watt himself, the police are convinced he is guilty. Desperate to clear his name, Watt turns to Manuel, a career criminal who claims to have information that will finger the real killer. As Watt seeks justice with the cagey Manuel's help, everyone the pair meets has blood on their hands as they sell their version of the truth.
The Long Drop is an explosive novel about guilt, innocence, and the power of a good story to hide the difference.
"Narrator David Monteath expertly heightens and diminishes his Scottish accent to differentiate the characters of Denise Mina's novel based on the true story of murderer Peter Manual, who terrorized Glasgow in the 1950s. Monteath has an easy voice to listen to…Listeners who pay close attention will be rewarded by the quality of the writing." —AudioFile
"With one plot line continually hopscotching over the other, Mina manages to keep two narratives going at once: the farcical account of Watt and Manuel's binge and the sober courtroom drama of dueling life-or-death stories when Manuel faces a jury…This one feels painfully real." —New York Times Book Review
"Encompasses a harrowing picture of the social issues of the time—many of which still prevail—packing a truly powerful punch." —Boston Globe
"Takes readers on a suspenseful tour into the past, through psyches and situations far grimmer than even those sooty Glasgow streets…[Mina] takes readers into the mind of a psychopath, as well as into the shadow lands where the grieving families of the victims find themselves exiled." —Washington Post
"Mina's moody, mesmerizing book…soon shows its teeth…In clipped prose, Mina reimagines the events surrounding the crimes." —New York Times
"A terrific exploration of crime and oppression." —Kirkus Reviews (starred review)
"An intricate and suspenseful unveiling of a murderer's mind." —Booklist (starred review)
"Outstanding…With knifelike precision, Mina flicks between the bizarre twelve hours Watt and Manuel spend together getting drunk in Glasgow bars and Manuel's later trial." —Publishers Weekly (starred review)
"[A] thriller…that you won't want to put down." —BookPage
"Like the film M, Mina's latest is both a tale of a twisted killer and a searing condemnation of hypocrisy." —Literary Hub
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Author Bio: Denise Mina
Denise Mina is the author of numerous novels, including The Long Drop, which won the 2017 Bloody Scotland McIlvanney Prize for Best Crime Book, and the Garnethill trilogy, the first installment of which won the John Creasey Memorial Award for best first crime novel. She also writes for the popular graphic novel series Hellblazer.
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text:
The Lymington Times and New Milton Advertiser are weekly English broadsheet newspapers which serve the New Forest in Hampshire and neighbouring Christchurch in Dorset. They are published by New Milton News and Media Limited.

Areas served
New Milton, Barton-on-Sea, Highcliffe, Christchurch, Milford-on-Sea, Brockenhurst, Burley, Lymington, Sway, Boldre, Beaulieu, Hythe, Fawley, Waterside and Totton, Ringwood and Fordingbridge. The outskirts of Bournemouth and Southampton.

History

The first edition of the New Milton Advertiser was launched on 7 June 1928, a single 16in x 12in sheet which sold for 1d. The first proprietor was Kirby Wynne.

In 1932, the New Milton Advertiser was bought by Conrad Davies and Frederick Curry, who bought a plot of land on Old Milton Road to house a second-hand printer. They also invested in a property in Lymington to found the Lymington Times.

In 1936, Charles Curry, son of Frederick Curry, joined the company as a 16-year-old reporter.

In 1938, a circa-1880 rotary press was installed at the New Milton office and run by Charles Curry.

By 1947, the paper had increased to eight pages, and the combined circulation of the New Milton Advertiser & Lymington Times was 8,000.

In 1950, a Northern Press and Engineering Company rotary press was installed and situated in the building adjacent to the Advertiser & Times offices. The press was limited to a paper size of 32 pages and was powered by a John Deere tractor engine.

In 1966, CT Curry died aged 75 and Charles took over as editor.

A Hoe and Crabtree Viscount printer was installed in 1990, which the previous owner had converted to direct litho, is purchased and erected on the New Milton Site. The press was constructed over a period of five years and allowed a progressive change from hot metal to photosetting. By 1995 the handover to the Hoe and Crabtree Viscount was complete, and the last run of the old Northern Press and Engineering Company rotary machine was in October.

Charles Curry was made an MBE for services to journalism in 1997.

By 2000, the Advertiser & Times was believed to be the last newspaper in the UK which still relied on hot metal, merging the old hot metal techniques with new computerised technology.

In 2001, the Advertiser & Times stopped using its two Linotype hot metal machines after 70 years of service.

2016 saw the first colour publications by the Advertiser & Times which, with the introduction of a fortnightly full-colour Property Focus followed by special publications showcasing the New Forest Show, New Forest Marathon, New Forest NPA Park Life and First Class.

On 26 January 2018, after 85 years of black-and-white printing, the newspaper's first full colour edition was launched.

In 2019, Charles Curry died aged 96, after editing the newspaper until he retired aged 91

In October 2020, the titles were bought  by a consortium comprising regional publishers Iliffe News and Media and father-and-son pair Peter and Rory Fowler.

References

External links
 www.advertiserandtimes.co.uk

Newspapers published in Hampshire
1932 establishments in England
Weekly newspapers published in the United Kingdom
Publications established in 1932


text:
Ep. 7: Lauren Weintraub
By Dan | Podcast
"Standing at five feet tall, Lauren Weintraub is proof that good things come in small packages. A "half-pint dynamite" to quote April Boyle of the Portland Press Herald and a...
Ep. 6: Ryan LaPerle
Ryan LaPerle is a singer/songwriter and performer who makes the bulk of his living as a street performer at Boston's Faneuil Hall. He sat down with The Barton Brothers to discuss transitioning to...
Ep. 5: Matt McArthur
Matt McArthur is the Founder and Executive Director of The Record Co., which is a Boston-based music incubator which seeks to fulfill the creative visions of music makers and build...
Ep. 4: Adam Sickler
On Episode 04 of Boston Music Explorer, we host singer-songwriter, producer, and youth mentor Adam Sickler. As one of the most active members of the Boston music scene, Adam hosts the Sunday...
Ep. 3: Desi Oakley
Episode 3 of Boston Music Explorer featured Desi Oakley, who is currently starring as Jenna in the national Broadway tour of Waitress the Musical, hops on a call with Dan...
Ep. 2: Dan Masterson
For episode 2, we hosted Dan Masterson, who is a Boston-based performing songwriter whose influences -- including Jack's Mannequin, Sara Bareilles, and Billy Joel -- come together to create a...
Ep. 1: Abby Krawson
For our first episode, Abby Krawson joins us to discuss her life, her entrepreneurial track, living and working in Boston, and the pros and cons of grad school and a...
Jack's Technicolor Joseph
By Dan | Press, Reviews
Allow one Barton brother to brag on another, since it's about the only thing I can do before Jack makes his move to Boston in September. After years of near...
Ep. 14: David Bashford


text:
Radojka Vukčević (Podgorica, 1952), srpska univerzitetska profesorka i prevoditeljka. Redovna je profesorka na Katedri za engleski jezik i književnost Filološkog fakulteta u Univerziteta u Beogradu.

Biografija
Diplomirala je (1977), magistrirala (1986) i doktorirala (1995, teza: Mitološki motivi u Foknerovom pripovjednom postupku) na Katedri za engleski jezik i književnost Filološkog fakulteta Univerziteta u Beogradu.

Radila je (1986-2005) na Institutu za strane jezike Univerziteta Crne Gore, na Filozofskiom fakultetu u Nikšiću.

Dobitnica je dve Fulbrajtove stipendije (University of Illinois i Harvard; J. F. K. stipendija – Berlin).

Bila je gostujuća predavačica na mnogim univerzitetima u inostranstvu (Bon, Nju Orleans, Šampejn-Urbana, Kembridž...).

Članica je uredništva ili je urednica u časopisima Belgrade BELLS, Anali , Images of Canada: Interiors and Exteriors, (Eds. Jelena Novakovic and Radojka Vukcevic), Beograd, 2007, Luča, Nikšić: Filozofski fakultet, 1-2, 1997.

Bibliografija (izbor)
Knjige

Razgovorom kroz Ameriku: knjiga intervjua,  Novи Sad: Akademska knjiga, 2019.
Историја америчке књижевностi, Подгорица: Матица српска у Црној Гори, Друштво чланова; Нови Сад: Академска књига, 2018.
A History of American Literature: Precolonial Times to the Present, Beograd: Filološki fakultet, 2010.
A History of American Literature: Then and Now, Institut za strane jezike, Podgorica, 2005.
U sjenci mita: ogledi o američkoj i kanadskoj književnosti, Andrijevica: Stupovi, 2003
Kritika SADA, Uredile: Radojka Vukcevic i Marjana Djukic, Institut za strane jezike: Podgorica, 2004.
Perspectives on American Literature, (Ed.) Beograd: Filološki fakultet, 2008.
American Literature: A Reader, (Ed.) Beograd: Filološki fakultet, 2008.
An Anthology of American Literature, Vol. II, (Ed.) Podgorica: Univerzitet Crne Gore, 2000.
Zavještanje, Antologija ženskih glasova na engleskom jeziku, (Ur.) Podgorica:  Institut za strane jezike, "Pokret", 1999.
Fokner i mit, Podgorica: Univerzitet Crne Gore, 1997.

Prevodi (knjige)

Aleks Jovićević,  Monteskje kao prevodilac, Podgorica: CID, 2008. (Montesquieu as a Translator)
Vida T. Johnson, Filmovi Andreja Tarkovskog: vizuelna fuga, Banja Luka: Besjeda, 2007. (Films of Andrei Tarkovski: Visual Fuga),
Rashwort M. Kidder, Kako dobri ljudi donose teške odluke, Podgorica: CID, 2006. (How Good People Make Hard Decisions)
J.Saymour, Istorija Crne Gore, Podgorica: CID, 2001. (History of Montenegro)
Zorka Milić, Tuđa večera, Podgorica, CID, 1997. (A Stranger's Supper)

Radovi i intervjui (izbor)

"The Reception of John Updike in Serbia and Montenegro" People Say, Journal of Literature and Culture, Canada, year 12/dec 2019/issues 35/6, 2020, pp. 45-56
"Americka književnost posle 9/11 / književnost krize". Da baštinimo vecnost svekoliku, Odsek za engleski jezik, književnost i kulturu Filološkog fakulteta Univerziteta u Beogradu, Srbija, 2019, str.   159-183
"Simone Stock's and Misha Skoric's Iris", Proceedings: Canada 150 Filmed,  University of  Belgrade, Faculty of Philology, Serbian Association for Canadian Studies, 2019, 191-9
"Revolutionary Vibes of 1968 and the American Dream". Belgrade: BELLS,  VOLUME XI, 2019, pp.  161-183.ISSN 1821-4827ISSN 1821-3138, Belgrade English Language & Literature Studies, COBISS.SR-ID 170838540
"Njegoševe igre u Sablji i  pjesni Edvarda Denisa Goja", Njegošev zbornik Matice srpske 3, Novi Sad, 2018, str. 77-85. UDC 821.163.41.09 Petrović Njegoš P. II 821.111.09 GoyE. D.
Canada in Short: Contemporary Canada in Short Fiction. Belgrade: University of Belgrade, Faculty of Philology, 2017. ISBN 978-86-6153, 391-4.
"An Interview with Christopher Bigsby". Belgrade Bells, UDC 929:821, 2017, 181-186. (M52)
"Lorens Bjuel i Veliki američki roman", Zbornik Amerika, Filološko-umetnički fakultet u Kragujevcu, 821.111 173-31.09&quid;19&quot, 2017, 283-292
"Najnovija recepcija Njegoša u SAD: 1995-2010", Anali, br.  27, Sveska 2 za 2015. godinu, str. 11-22
"Alis Manro u kontekstu kanadske kratke priče". Susreti naroda i kultura: međunarodni tematski zbornik, Kosovska Mitrovica: Filozofsku fakultet,  2015, str. 5-13.  UDC821.111(719.09-36 Манро А. 82.0
"Gerald Graff's Embracing Edges in Professing Literature", ELLSEE Proceedings, Belgrade 2014, pp. 401-9. (UDC 821.111(73).09, 82.09(73)
"British XX Century Literature Embraced by Literary Criticism" Zbornik Matice srpske za književnost i jezik, Novi Sad: Matica srpska, 2014, 843-6
"Canadian Literature NOW", Belgrade Conference on Canadian Literature, Proceedings, CANADA: New Ideas for the New World, Faculty of Philology & SACS,  pp. 2014, 227-237
"A Study of Đilas's Perspectives on Njegos's Poet, Prince, Bishop, Serbian Studies, Vol. 26, Nos.1-2, 2012, pp. 17-25
"The Roads of American Literary Criticism Taken", Belgrade BELLS, Vol. IV, Belgrade, 2012, pp. 63-73
"As Žižek Writes It" Anali, 23 Sveska I, Belgrade: Filoloski fakultet 2011, 223-233
"(Re) Connecting Through Diversity: Margaret Atwood's Strange Things" , (Re) Connecting Through Diversity: Canadian Perspectives, Eds. J. Novakovic,  S. Pajovic i V. Gvozden, Megatrend University, Belgrade 2011, pp. 137/143.
"Interview with Linda Hutcheon", Belgrade Bells, Vol. 2,  Belgrade: Faculty of Philology, English Department, 2010, pp. 335-342
"Sandra Gilbert and Susan Gubar's Borders of Convention", On the Borders of Convention, Eds. A. Nikčević and M. Knežević, Cambridge Scholar Press, 2010, pp. 151-159
"Dobrica Ćosić: pogledi sa strane", Ćorovićevi susreti: Srpska proza danas – Književno djelo Dobrice Ćosića, SPKD Prosvjeta, Bileća-Gacko, 2011, str. 70-82.
"Old and New Ways of Writing and Reading: History of American Literature Now", Prosvjetni rad, 1,2, Podgorica, 2009. pp. 18-28
"Negoriating Books' Ads: 'Seeing Through Things', Anglica Wratislaviensia XLVII, Wroclaw 2009, pp. 81-91
"Female Voices in the Mirrors of the History of American Literature", Size Zero, Podgorica: Pobjeda 2009, pp. 17-37
"Playing Chess with Sacvan Bercovitch and His Model of Literary and Cultural Studies", ELLSSAC Proceedings, Vol.II, Belgrade 2008, pp. 73-79
"The Twilight of Postmodernism" (''Postmodernizam na zalasku''), Nova Zora, Jesen/Zima 15-16, 2007/8, pp. 302-310
"Myth, Canadian Literature, and Michael Ondatje's Myth-Making", Images of Canada: Interiors and Exteriors, Eds. Jelena Novakovic and Radojka Vukcevic, Beograd, 2007, pp. 29-45
Putevi Novog istorizma: intervju sa Stivenom Grinblatom, Novi Sad: Zbornik Matice srpske za književnost i jezik, Kniga LV, Sveska 1/2007, pp. 131-35
"Miroslav Djordjevic's Eternal Seekings", Afterword in Pathways of a Yearning Soul, Toronto, Belgrade: Sebian Literary Company, 2007, 117-122
"Lawrence Buell's Capacity to Dream the Dream of Deep Ecology in his Writing for an Endangered World", ELLSII75Proceedings, Vol. III, 269-277
"Ženski glasovi u američkoj književnosti", Zbornik Matice srpske, knjiga LIV (2006), sveska 1, pp. 81-93
"Is a Woman Still a Stranger at Supper in Montenegro?", Gender  Studies, Vol. 1, No. 5/2006, pp. 151-161
"Margaret Atwood's Otherness", Proceedings: First International Conference on Canadian Studies
Other Language – Otherness in Canadian Culture, Belgrade, July 2005, pp. 331-37
"Kolonijalna i postkolonijalna teorija: razgovor sa Homi Babom", Novi Sad: Letopis matice srpske, January-February, 2005, pp. 218-226
"Poetika moderne Miodraga Pavlovića, T. S. Elioteove tradicije i proliferacija teorije", Književno djelo Miodraga Pavlovića, Plužine, July 2004, pp. 163 - 179
"Američka književnost i stvarnost", Zbornik "Jezik i stvarnost", Nikšić: Filozofski fakultet, 2004, str. 128-142
"Who are Canadiens in Les Canadiens?", PROCEEDINGS 1st Conference of Central European Canadianists "Multiculturalism and Diversity in Canada - Voices from Central Europe", 13-15 November 1998, Brno, Czech Republic, 2001 Masaryk University, pp. 143-149
"Foknerovo poimanje svetosti i odgovornosti", Svetost i odgovornost, Svetigora, Cetinje, 2000, str. 125-136
"Myth, Mythologizing and Canadian  Literature",  The Myth in the Works of Canadian Authors, X Colloque International, Novi Sad, 23-27 May 1996, Novi Sad, 2000, pp. 165-179
"Američki san: od Bendžamina Frenklina do Tomasa Pinčona", Stvaranje, april-maj-jun, 1999, 125-137
"I ostala je ličnost", Književna reč, jul, 1998, 91-95
"Jezik, kultura i književna kritika", Zbornik: Jezik i kultura govora u obrazovanju, Institut za pedagoška istraživanja, Beograd, 1998, 173-180
"Foknerove tišine", Luča, XIV, Nikšić, 1-2, 1997, 45-50
"Tuđa večera Zorke Milić", Geografski glasnik, Beograd, nov.,  1997, 18-22
"Foknerova poetika mitologizacije", Ovdje, Podgorica, april, 1997, 25-50
"The Reception of American Literature and Culture in Montenegro", Procedings: Symposium "Language and Literature at the End of the XX Century", Podgorica, 1997, 313-325
"Foknerova poetika", Vaspitanje i obrazovanje, 3, Podgorica, 1996, 61-83
"Myth, Mythologizing and Canadian Literature", X Colloque International, Novi Sad, 1996, 165-179
"O'Nilova poetika" - Vaspitanje i obrazovanje, br. 2, 1990, 80-88
"Pojam tragičkog u antičko i moderno doba", Vaspitanje i obrazovanje br. 2, god. XIII, avgust, 1989, 73-96
"Crnina priliči Elektri i Orestija", Ovdje,  god.  XXI,  br. 243, 1989, 20-23. "Crnina priliči Elektri i Orestija", Ovdje,  god.  XXI,  br. 243, 1989, 20-23

Reference

Рођени 1952.
Професори Филолошког факултета Универзитета у Београду
Доктори наука


This frustration inside me was a tiny spark which then amplified into this fire that became all-consuming and the high pitched screams turned into helpless cries.
The wrath I keep confined , if unleashed, will burn more hearts than I desire; which will remain scarred for the rest of their beating lives.
But when no one understands, when there is no one for me to turn to, when I myself am lost in this entangled maze I call "my mind" ; how do I expect my incapable hands to put out the flames that are devouring my insides.


'A Girl is a Half Formed Thing', comes to The Young Vic this February, as part of Culture Ireland's programme for 2016, celebrating Ireland's Centenary. Adapted from the original book written by Eimear McBride, by Annie Ryan and company. Aoife Duffin performs solo in this piece, though takes on the roles of several characters, and scooped The Stage Award for Acting Excellence at the 2015 Edinburgh Fringe. Last week I spoke with Annie Ryan to find out a little more about how they brought this story to the stage.


text:
Q: SQL Server does not failback to the primary node We are running SQL Server 2008 R2 on a Windows Server 2008 R2 two-node cluster.
My choice of machine is primary, and the secondary is just a low-end machine for contingency planing.
We had a failover the last day during night time and when I came to the office the next morning, I noticed that SQL Server service did not failback to the primary machine although it came back online.
All settings seems to be in place:

*

*Attachment 1 shows the general tab of SQL Server service properties dialog box from Server Manager - > Failover Cluster Manager. Both machines are checked, primary being at the top.

*Attachment 2 shows failover tab of the same dialog box. Immediate failback is activated.

How can I modify these settings so that whenever the primary comes back, system will failback onto it.

A: I set up a virtual lab environment simulating a clustered network where I unticked one of the nodes as the preferred owner. I can confirm that whenever the ticked node goes offline, the unticked one comes into play and the system failbacks onto the ticked node once it comes online again.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Update and left outer join statements I have two tabels with a relation and I want to update a field in table A. Is it possible to combine update and join in the same query? I googled it but didnt find any working solution?
UPDATE md SET md.status = '3'
FROM pd_mounting_details AS md
LEFT OUTER JOIN pd_order_ecolid AS oe ON md.order_data = oe.id

I'm using MS SQL

A: If what you need is UPDATE from SELECT statement you can do something like this:
UPDATE suppliers
SET city = (SELECT customers.city FROM customers

WHERE customers.customer_name = suppliers.supplier_name)

A: Just another example where the value of a column from table 1 is inserted into a column in table 2:
UPDATE  Address
SET     Phone1 = sp.Phone
FROM    Address ad LEFT JOIN Speaker sp
ON      sp.AddressID = ad.ID
WHERE   sp.Phone <> ''

A: In mysql the SET clause needs to come after the JOIN. Example:
UPDATE e
    LEFT JOIN a ON a.id = e.aid
    SET e.id = 2
    WHERE
        e.type = 'user' AND
        a.country = 'US';

A: UPDATE
       t
SET
       t.Column1=100
FROM
       myTableA t
LEFT JOIN
       myTableB t2
ON
       t2.ID=t.ID

Replace myTableA with your table name and replace Column1 with your column name.
After this simply LEFT JOIN to tableB.  t in this case is just an alias for myTableA. t2 is an alias for your joined table, in my example that is myTableB.  If you don't like using t or t2 use any alias name you prefer - it doesn't matter - I just happen to like using those.

A: The Left join in this query is pointless:
UPDATE md SET md.status = '3'
FROM pd_mounting_details AS md
LEFT OUTER JOIN pd_order_ecolid AS oe ON md.order_data = oe.id

It would update all rows of pd_mounting_details, whether or not a matching row exists in pd_order_ecolid. If you wanted to only update matching rows, it should be an inner join.
If you want to apply some condition based on the join occurring or not, you need to add a WHERE clause and/or a CASE expression in your SET clause.


text:
Q: Font won't change in CSS / HTML? I'm working on a website with PHP and MySQL. I've been activley trying to change the font, but no matter what I do, it won't change. Here is my main CSS file:

header {
    border: 4px solid black;
    text-align: center;
    border-color: red;
    background-image: url('marist.jpg');
    background-repeat: no-repeat;
    background-color: #FF0000;
    color: lightgray;
    font-size:300%;
    padding-top: 15%;
    font-family: "Arial", "Helvetica", sans-serif;

}

body {
    background-color: salmon
}

#usrform {
    background-color: #CECECE;
    border-radius: 5px;
    padding: 10px;
    font-family: "Arial", "Helvetica", sans-serif;
}

input[type=text],input[type=date] {
    width: 100%;
    padding: 12px 20px;
    margin: 8px 0;
    box-sizing: border-box;
}

textarea {
    width: 150%;
    height: 150px;
    padding: 12px 20px;
    box-sizing: border-box;
    background-color: #CECECE;
    resize: none;
}

select {
    width: 100%;
    padding: 16px 20px;
    border: none;
    border-radius: 4px;
    background-color: #CECECE;
}

input[type=submit] {
    width: 100%;
    background-color: #676767;
    color: white;
    padding: 14px 20px;
    border: none;
    margin: 8px 0;
    border-radius: 4px;
    cursor: pointer;
    font-family: "Arial", "Helvetica", sans-serif;
}

input[type=button] {
    width: 100%;
    background-color: #FF0000;
    color: white;
    padding: 14px 20px;
    border: none;
    margin: 8px 0;
    border-radius: 4px;
    cursor: pointer;
}

input[type=submit]:hover {
    background-color: #8B0000;
}

Is there something wrong that I'm doing? I've been trying to fix it for a while.
I also have some other CSS files for specific pages of my site, but the font won't change no matter what I do their either.

A: Make sure that you have called the css file at the very bottom of other css files.
Use css like this
font-family: "Arial", Helvetica, sans-serif;

A: There are several things you could try in order to solve the problem since you still don't know precisely where the issue is.

*

*Utilize CSS !important to force the style to apply.

*Clear cache


text:
Court Docket, Nov. 21 to 25
Sentences and fines from Fort St. John and Dawson Creek provincial courts
Matt Preprost Nov 28, 2022 10:15 AM
• Blake Cayan George (born 2002) was sentenced to time served with two years probation, given a 10-year mandatory firearms prohibition, and ordered to submit a DNA sample for assaulting a peace officer causing bodily harm in Prince George in August 2021.
• Brent Edgar Eric Heska (born 1979) was sentenced to one year probation, fined $500, and ordered to pay a $150 victim surcharge for assault committed in Fort St. John in September 2021. Heska was sentenced to time served and ordered to pay a $100 victim surcharge for breach of undertaking in Fort St. John in October 2021.
• Riley Justin Reg Apsassin (born 1990) was given a suspended sentence with 18 months probation and ordered to pay a $100 victim surcharge for assault by choking in Fort St. John in October 2020.
• Julian Dayne William Fellers (born 1997) was given a 729-day conditional sentence with a 10-year mandatory firearms prohibition and ordered to pay a $300 victim surcharge for failing to report loss or theft of a firearm or weapon in Cecil Lake in January 2019, and storage of a firearm contrary to regulation, and possession of a prohibited or restricted firearm with ammunition in Cecil Lake in June 2019.
• Cody Ronald Louis Attachie (born 1985) was fined $2000 and given a one-year criminal driving prohibition for impaired driving in Fort St. John in August 2021.
• Henry Cristostom Rodriguez (born 1968) was fined $500 under the Motor Vehicle Act, given a one-year driving prohibition, and ordered to pay a $75 victim surcharge for driving while prohibited in Hudson's Hope in August 2022.
• Robert John Sherlock Cutway (born 1991) was issued a one-year $500 recognizance after allegation of causing fear of injury or damage to property in Prince George in August 2021.
Notes on sentencing
Suspended sentence: The judge convicts the accused but suspends sentencing, and instead releases them on conditions set out in a probation order.
Conditional sentence: The judge gives the accused a jail term, but allows them to serve it in the community as long as they follow certain conditions. Often called house arrest.
Conditional discharge: The accused's record won't show a conviction if they meet conditions the judge sets out in a probation order.
Recognizance after allegation: An agreement to keep the peace and be of good behaviour when the court finds there are reasonable grounds that a person will commit an offence.
Victim surcharge: A fine levied by judges at their discretion during sentencing that goes toward helping victims of crime.
More Fort St. John News
Ruby McBeth: Farewell to friends
Petition launched to recall northern B.C. MLA Dan Davies
Hospital Auxiliary buys new Broda chairs for care home residents


Say hello to the NEW Angelica Dress, our Pale Pink frock. The Angelica Dress is playful and timeless, cut from quality cotton/linen and finished with retro-look white ric-rac ribbon. This dress will take will you back to a simpler time and place.


text:
Tate Papers no.8
Tate Papers ISSN 1753-9854
The Modern Cult of Replicas: A Rieglian Analysis of Values in Replication Sebastiano Barassi
Thoughts on Replication and the Work of Eva Hesse Michelle Barger
Nothing but the Real Thing: Considerations on Copies, Remakes and Replicas in Modern Art Lydia Beerkens
Replicas and Reconstructions in Twentieth-Century Art Christiane Berndes
Hélio Oiticica Guy Brett
Richard Serra: A Case Study Lynne Cooke
Thoughts on Thoughts on Replication Harry Cooper
Inherent Vice or Vice Versa Sturtevant
Replication: Then and Now Penelope Curtis
Blurring the Boundaries between Art and Life (in the Museum?) Anna Dezeuze
Amazement and Uneasiness: Early Thoughts Matthew Gale
Anthony McCall's Line Describing a Cone Mark Godfrey and Anthony McCall
The Rules of the Game Walter Grasskamp
Afterthoughts: Introduction Matthew Gale
Degradation of Naum Gabo's Plastic Sculpture: The Catalyst for the Workshop Stephen Hackney
Tate Sculpture Replica Project Jackie Heuman and Lyndsey Morgan
Resistance to Replication Margaret Iversen
The Passing Away of Art Ulrich Lang
Replication and Decay in Damien Hirst's Natural History Petra Lange-Berndt
The Model of Vladimir Tatlin's Monument to the Third International: Reconstruction as an Instrument of Research and States of Knowledge Nathalie Leleu
Replicas of László Moholy-Nagy's Light Prop: Busch-Reisinger Museum and Harvard University Art Museums Henry Lie
Naum Gabo and the Quandaries of the Replica Christina Lodder
Posthumous Legal and Ethical Issues Henry Lydiate
Authority and Ethics Carol Mancusi-Ungaro
Gabo Cataloguing Project at the Tate Archive Anna McNally
Why/Why Not Replicate? Jennifer Mundy
Kurt Schwitters: Reconstructions of the Merzbau Karin Orchard
Reconstructing the Forgotten: An Exhibition of 1970s and 1980s Video Installations, Re-staged with Authentic Technology Joanna Phillips
The Enduringly Ephemeral Alex Potts
Carl Andre Alistair Rider
Should We Reproduce the Beauty of Decay? A Museumsleben in the work of Dieter Roth Heide Skowranek
Inherent Vice Julian Stallabrass
Replication: Some Thoughts, Some Works Simon Starling
Je travaille sur la présence Didier Vermeiren
Replicas of Constructions by Naum Gabo: A Statement by the Copyright Holders Nina Williams and Graham Williams
Replication of Sculpture / Works of Art: Legal Guidelines Tate Legal and Copyright Department
Digitisation and Conservation: Overview of Copyright and Moral Rights in UK Law Tate Legal and Copyright Department
Terminology for Further Expansion
Participant Biographies
At a very general level the question cannot be answered. It depends on specific circumstances and specific proposals.
In this case study I am going to concentrate on the work of Hélio Oiticica (1938–1980) and some of the questions it raises that are pertinent to the discussion of replicas and replication. I want right away to acknowledge the help I have received from Luciano Figueiredo, artist and Director of the Centro Cultural Hélio Oiticica in Rio de Janeiro. As one of the original group of 'Friends of Hélio Oiticica' who assembled after his death in 1980 to care for his work and legacy, and which included his two brothers Claudio and Cesar who inherited his estate, Luciano has been close to all decisions taken regarding making replicas of Oiticica's existing works or objects, and constructing works from the artist's notes and plans. I am equally grateful to Luciano's sister Ariane, who looks after the archive of the Projeto HO, the estate collection of work and documentation which is housed in the family house in Jardim Botanico, Rio de Janeiro, which has been converted into a store and study centre for Hélio's work by his architect brother Cesar. Ariane actually made the replicas of Hélio's Parangolé Capes which have 'stood in' for some of the originals – now in precarious condition – in exhibitions of Hélio's work, which has permitted the public to wear and explore them. I will be drawing on emails Luciano and Ariane have sent me recently.
The question of replication, reproduction and re-creation becomes particularly poignant in relation to Oiticica because he himself was very concerned with the life and afterlife of his works. Not only the existence they might have posthumously but how they would continue to live, retain their vitality and efficacy during his lifetime. Certain later works are devices designed to rescue, in a sense, an earlier concept, or what he would probably call a 'life-act', from appropriation and acculturation by the art institution and art market. A clear example is the Counter-Bolide: To Return Earth to the Earth, enacted in 1978, two years before his death. 'Counter' in the sense of reversal of the original Bolides in which a material – earth, pigment, and so on – was withdrawn from the world into a container to become an energy-centre or Fireball, as the Portuguese word denotes. The Counter-Bolide was part of an event he organised on a site in Rio's Caju, a forlorn lot and rubbish dump near the port in what used to be the Portuguese imperial quarter. Rich black earth was brought from another place and poured within a small rectangular enclosure: when the wood frame was removed the earth stayed on the earth. It was a kind of burial of the Bolide as an object and its rebirth as an 'act': a renewal in fact of its original intention to make 'manifest the presence of some earth as a piece of the earth'.
Another example is the Made-on-the-Body Parangolé participatory events, undertaken on several occasions in different cities and countries. Out of a plain three-metre length of fabric of bright colour 'each person must build on the body a structure, uniting the edges and extremes with safety pins'. Oiticica stressed that each cape should be removable without disturbing the pins, so that it can be handed on to someone else, who will 'wear' it and activate it in a different way. He emphasised the desirability of participation by a heterogeneous public. Recently, a set of Capes surviving from the Made-on-the-Body event at Recife in 1979 – capes improvised by participants on their own bodies and those of others – were shown like chi-chi fashion items on specially designed hangers in a commercial gallery in São Paulo. I can imagine his total freak-out at such a development.
Oiticica was radical in his adherence to a principle of renewal. The Counter-Bolide, he said, could be repeated whenever circumstances demanded it (and during the Oiticica exhibition in 1992 we did repeat it in the environs of each museum where the exhibition travelled). On the other hand, the whole elaborate scenario of the Whitechapel Experiment, at the Whitechapel Gallery in 1969, was not to be repeated. He wrote: 'It would be a mystification to "repeat" through Europe the same show, unless those works or propositions could take a new sense, which I doubt. The London show is a unique experience as such.'
However, in a practical sense, Oiticica did allow for reconstruction or replication of certain works during his lifetime. In 1968 I accidentally broke his Glass Bolide 14 'Estar' ('To Be') which I had in my flat at a time when I was searching for possibilities of exhibiting Oiticica's work in London. Estar consisted of a loose mass of sea-shells in a glass container. Oiticica sent me detailed instructions of how to cut the top off a type of large glass flask, smooth the edges and transfer the shells to the new container. In England, we were not able to find the same flask he had used in Brazil and my memory is hazy as to whether we substituted an available bottle or not. Nevertheless, his letter shows he wanted to reconstruct the work. It was eventually posthumously remade in Rotterdam for the 1992 exhibition, but was never exactly the same as the original.
The huge growth of interest in Hélio Oiticica after his death and demands to exhibit his work naturally faced the Projeto with the dilemma: how to allow physical participation of the public in the work – essential to its nature – and to preserve its material and aesthetic qualities. The solution was to make a number of copies, both of Parangolé Capes and Penetrables, including the 'environment' Tropicália. Later, a replica of a key work, Bed Bolide 1, 1968, was made. Luciano Figueiredo writes:
The first replicas to be made were in 1985, when we (myself, Lygia Pape, Mauricio Cyrne, Thomas Valentin and other members of the Advisory Board for Projeto HO) were asked to lend works by Hélio for an exhibition organised by the Brazilian art critic Frederico Moraes called Opinião 65. The exhibition was an attempt to revive the historical show of the same name that had taken place in Museum of Modern Art in Rio in 1965. It was precisely in this show that Hélio had made the first public presentation of his Parangolés.
I personally made the research of fabrics and other materials and I painted myself the parts that were to be hand-painted and I recall that we presented the two or three replicas in the street outside the art gallery at Copacabana beach with live music playing. We considered the presentation very effective and this was how the posthumous existence of these works began.
In 1986 we made the first reconstruction of Tropicália to be presented in an event in São Paulo. This reconstruction involved a special problem because either Hélio did not design a drawing-plan for the construction or the drawings had been lost. So, the re-assembling of panels that make the cabins was done by studying all the photographic material in the archives: photos of the first installation of 1967 at MAM – Rio de Janeiro, photos from publications and photos from the Whitechapel exhibition. Other materials and aspects of Tropicália were found in Hélio's texts and also in his letters.
In the same year (1986) we organised in São Paulo an exhibition including many of Hélio's works (Bilateral, Spatial Relief, Bolide, Parangolé and Tropicália). This show took place at Galeria São Paulo and it drew very strong attention from the public, the artists, art critics and the Brazilian press. It was the first major presentation of Hélio's works in Brazil since the late 1960s and again we made replicas of Parangolés, that were worn by the public in a very satisfactory way. We also supervised the making of one replica of a Spatial Relief and an edition of approximately 150 copies of the banner 'Be a Marginal Be a Hero' was made, based on an original copy made and signed by Hélio. This exhibition marked the beginning of a new discussion about Hélio's work in Brazil.
Luciano and Ariane point out that some Parangolé Capes are extremely difficult or impossible to replicate and others are simpler. Ariane writes of her frustration in not being able to find the exact materials to make a satisfactory copy:
Oiticica used a great variety of fabrics, plastics, canvases, sponges, straw, charcoal, nylon mesh and bags which are no longer available. Looking for the right material involves much research and long walks not always rewarding. At times I could find the right material but with a different colour or the right colour but the material is not the same, so a question always challenged me: should I be more faithful to the colour or to the texture, as in the case of the works of Hélio Oiticica both values are extremely important?
I suppose this conflict will always exist and maybe there will never be an answer to it. But, without the copies, how could we show today and in the future a work that is sensorial by its nature and that demands the participation of the spectator?
Works actually constructed for the first time from plans, notes and drawings left by Hélio, carried out or supervised by Luciano for the Projeto include two of the Cosmococa installations (New York, 1973; construction 1991); and the Penetrable Invention of Light, 1978–80, which existed as a small maquette (indeed, Hélio referred to it as a 'transformable maquette-work'), consisting of five translucent screens set in sockets in an earthen or crushed brick ground, which could be moved or removed in 'strong light (not very close to the pieces) for light effects'. For the 1992 retrospective this was enlarged to a scale where people could walk into it and, with some difficulty, move the screens.
The last reconstructions or replications Luciano made were of the Penetrable Nas Quebradas, originally of 1979. There was one reconstruction in 2002 and another in 2003. The original work had been destroyed while Oiticica was still alive. For this reconstruction Luciano used the artist's original drawing plans, which included a detailed list of all materials, and photographs of his original installation.
The construction of the Cosmococa series is a special case because the plans were elaborated together with Oiticica's friend, the filmmaker Neville d'Almeida, in New York, and Neville has quite naturally interpreted them in the light of his own experiences and memories.
In the case of the Invention of Light, I felt the simple enlargement of a maquette did not work well. I felt sure Oiticica would have carefully considered the problem of scale and made changes (his title 'maquette-work' seems to establish this). But such judgements are inevitably subjective. The reconstruction of Nas Quebradas was criticised by some people who remembered the original (which I never saw) but I liked the piece and, in fact, was deeply moved by it. I saw it in the same lineage as the Grand Nucleus (early 1960s): a strange meeting of the lucidity and compression of abstraction with the lived experience of the hillside favela.
There are notebooks filled with detailed plans for complex Penetrables that Oiticica invented while in New York but lacked the support and means to build. My instinct is that they should be left as they are (or perhaps just three-dimensional models could be made from the drawings). I am ready to be proved wrong. I think we have to approach these questions in the spirit of Chomsky's words I quoted at the beginning of this report, a view with which Luciano Figueiredo would seem to concur:
Having had the experience of studying and handling the works of Hélio Oiticica for so long and by showing his works in many museums in Brazil and abroad, I must confess that after all these occasions and giving thoughts today to these matters, I think that the making of replicas or reconstruction of works can be more complex in the case of some artists than others. I think that due to the originality of each artist, the values, qualities and problems varies from one to the other and each artist can provoke a different point of view of what is in question.
When I participated in and encouraged the decisions about making replicas of works of Hélio Oiticica, I did so under the belief that the role of the replica would effectively contain the meaning of the original work. It was always clear to me that a duplication of Parangolé, for example, when faithful to the original can offer to the public the essence of the original piece.
However, if I have today disappointment and criticism to express about some aspects of showing Parangolés (either originals or replicas) in the spaces of institutions, how could these works be part of the discussions of contemporary art if it was not by its presence made possible by replicas? Would it be possible to experience what is a Parangolé just by looking at documents and photographs or by looking at motionless originals as in a museum of costumes?
This paper was written as a short discussion document for the Inherent Vice: The Replica and its Implications in Modern Sculpture Workshop, held at Tate Modern, 18–19 October 2007, and supported by The Andrew W. Mellon Foundation. Other papers produced for this workshop can be found in Tate Papers no.8.
Tate Papers Autumn 2007 © Guy Brett
Download the print version.
Hélio Oiticica: The Body of Colour
6 Jun – 23 Sep 2007
Hélio Oiticica: The body of colour; past exhibition at Tate Modern
Tate Etc
Hélio and I: Hélio Oiticica in London
Hélio Oiticica's The Body of Colour comes to Tate Modern in June. Brazilian arts flourished in the 1950s, originating with …
Living colour: Hélio Oiticica
Vincent Katz
Hélio Oiticica's Brazilian arts flourished in the 1950s, originating with the Modernist movement of the 1920s, and Oiticica became a …
Elasticity of Exhibition: Landmark Exhibitions Issue
This paper looks at a number of exhibitions planned and installed by artists from the late 1950s until the present. …


text:
St. Morgan is an unincorporated community in Madison County, Illinois, United States.

History
St. Morgan was named for its founder and first postmaster, E. M. Morgan.

References

Unincorporated communities in Madison County, Illinois
Unincorporated communities in Illinois