text:
An Eye for the Sound
Tim Motion
I was born in County Limerick, Ireland, surrounded by horses and ingesting Guinness with my milk. My parents returned to England and I was brought up in the West Country from the age of two. At school I studied art and music and learned the rudiments of photography at nine or ten years of age, fascinated by the appearance of 6x9 sepia daylight contact prints of the family dog, taken with a Kodak 620 film camera. I then spent two years National Service in the Royal Navy aircraft-carrier HMS Eagle, part of the Mediterranean Fleet. I was then using a Zeiss Ikonta 6x6 format camera, though few examples of my holiday snaps survive. Apart from scrubbing decks at 6am, painting ship, monitoring radar and other serious work, my time aboard constituted a working Mediterranean cruise, for which we were paid fifteen shillings a fortnight. The most memorable visits at that time were to Istanbul, Beirut and Damascus.
When I left the Royal Navy I couldn't wait to get to London and, after various jobs and socialising in London, painting and trawling the art galleries, I took an apprenticeship in wine cellars in the City, passed a Vintners Exam and was awarded a week's tour of the whisky distilleries of Scotland in a 1932 Rolls Royce 20/25. With a wine student friend I then made an epic tour, on a shoe-string, of the wine regions of France, starting with a week as guests in the Chateau Saran of Moet et Chandon in Epernay. On the way back to England I stayed in Paris with my paints and sketchbooks for a week or two, then went to the Gare d'Orleans and took a train going south. I got out at Tours, found a very cheap garret room smelling of stale herrings and vinegar and starved for six weeks, drawing the landscape and absorbing the special luminous light of the River Loire.
Still interested in the possibilities of finding employment in the wine trade, I worked in a wineshop in London where my consumption of wine and spirits tended to cancel out my weekly wages. I was then given a letter of introduction to a famous wine maker in Oporto. Combining the trip with my girlfriend's holiday we roared down to Portugal in a Jaguar XK120, spending two weeks in an Algarve fishing village. I then stayed on in Oporto where I spent two weeks sampling a huge range of vintage Port wines.
After various jobs in London including driving the first mini-cabs, and learning to play the double bass, restlessness got the better of me. I was presented with the opportunity of returning to the Algarve village to paint, renting a five roomed house on the beach at £4 a month, an offer hard to resist. I lived in the village for thirteen years.
In 1963, in homage to Henri Cartier-Bresson, I bought a 1952 Leica IIIc. My first commission was to take the photographs for a travel book, "Algarve - A Portrait and Guide" by Patrick Swift and David Wright, who were living there. I took my first jazz photographs at the 1st Lisbon Jazz Festival in 1971, featuring the Newport All Stars, Dizzy Gillespie, Miles Davis, Sonny Stitt, Dexter Gordon, Thelonious Monk, Art Blakey, Ornette Coleman and Keith Jarrett.
After painting, photography, music, house building, marriage and children, I ran a jazz club and discoteque in the village for nine years. Ronnie Scott played there in 1971 and 1972 with Tony Crombie and Mike Carr, with later visits by Brian Auger's Oblivion Express with Jim Mullen and Alex Ligertwood. Jon Hendricks, Georgie Fame, Cat Stevens, George Melly and numerous local, Lisbon and Brazilian musicians also appeared there. In 1974 the Portuguese Revolution changed the scene for ever. In 1975 I purchased a second-hand Hasselblad camera, which constituted the basis of my future photographic armory. It is still functioning perfectly today. Later the same year, prompted by revolution, divorce and a change of direction I decided to return to England, from where I travelled extensively, and started full-time photography in 1977 based in London.
As well as working with travel, fashion, architecture, aerial and location photography, I began to build up an extensive library of jazz and blues photographs taken at Ronnie Scott's, Pizza Express and other clubs and festivals in Europe and USA. My photographs have been published in numerous magazines including Vogue Paris, Harpers&Queen, Country Living, Homes & Gardens, Gardens Illustrated, Sunday Telegraph, Times, Time Out, Professional Photographer and specialist music and aeronautical magazines. I have been a member of the Association of Photographers since 1983 and won a Gold Award in the 1988 Association Awards in the special Landscape category.
Work and my passion for photography and travel, including business commissions, led me to Brazil, the Middle East, Morocco, Tunisia, Indonesia and Thailand. 1986 was a busy year with work in London, jazz festivals in Nice and Juan les Pins, France, and my first visit to the New Orleans Jazz Festival. Here, as well as the wonderful music and, due to a chance meeting, I was initiated into aerial photography which became an important extension of my commercial work. I then continued to Chicago for the Chicago Blues Festival - an unforgettable experience.
On my return to London and the French jazz festivals I received an invitation from a friend and fellow member of the Anglo-Indonesian Society to join an extended adventure tour of Indonesia at the end of September. I could not refuse and, as a result, I received commissions for corporate photography in various plantations in Java and Sumatra.
Through a friend who lived in the same house in London I became involved in the world of hot air ballooning adding an extension of my aerial work. I began hot-air balloon photography in Switzerland in 1992, then Tunisia and the Sahara Desert, France, Italy, Portugal, Austria, Germany, Bavaria, Latvia and the West Indies. From 1992 to 2002 I participated as official photographer for the Montgolfiades Internationales de Tunisie (Hot-air Balloon Rallies) in Southern Tunisia. I spent many weeks in the desert and, sponsored by Abderrezak Ben Ammar of AEROASIS, provided all the 140 photographs for his book "Tunisie - La Magie du Sud". This encapsulated my fascination with the relentless, elemental but subtle power of the desert. "Sketches of Silence" was the title of my exhibition in the Friends Room at the Victoria & Albert Museum in June 1999 and other galleries. Some of the work was exhibited for an Arts Foundation in Indonesia.
Amongst all the travel and other work my music photography has been a firm constant, expanding to include much more than jazz and blues, especially during my yearly attendance at the French festivals every July since 1982.
My work has been exhibited in the UK, France, Spain, and the United States, and is held in private collections worldwide, as well as contributing to jazz and blues books and magazines, travel books and other publications.
TIM MOTION London. May 2021


text:
Biografia
Figlio di Manuel Raúl Fernández Álvarez, medico chirurgo, e dell'attrice Linda Olivier (all'anagrafe Elizabeth de la Concepción López Hurtado), ebbe due fratelli che divennero uno ingegnere e l'altro avvocato. Il padre morì quando Carlos aveva appena tre anni, quindi il piccolo è stato cresciuto dalla madre e il suo secondo marito il professor Alejandro Irazábal.

A soli 15 anni debuttò in un programma dedicato alla ricerca di volti nuovi, poi passò a studiare recitazione nell'Atelier di Giovani Attori di RCTV. L'Atelier era diretto da Hugo Ulive, Isaac Chocrón, Julio César Mármol, Humberto Colmenares, Román Chalbaud, Manuel Bermúdez e Amalia Perez Diaz.

Da giovane seguì le due passioni della sua vita: fece studi di medicina nella Università Centrale di Venezuela e studiò recitazione presso l'Atelier di RCTV.

Carlos Olivier partecipò a numerose telenovelas di RCTV e di Venevisión, recitando al fianco di attrici del calibro di Grecia Colmenares, Tatiana Capote e Mayra Alejandra, diventando presto famoso. Il suo personaggio più famoso fu Pedro Luis Guerra nella telenovela Leonela (1983) al fianco di Mayra Alejandra. Inoltre fu attore in diverse opere di teatro.

Lavorando sul set incontrò, l'attrice Paula d'Arco, sua partner in due film, Storia di un amore e Il prigioniero di Zeuda e dopo due anni si sposarono. Dal matrimonio nacque il figlio Carlos Raúl ma la felicità fu breve poiché, nel marzo, del 1976 Paula morì in un incidente stradale. Nonostante il lutto, Caros non si diede per vinto e si gettò a capofitto nel lavoro, girando una telenovela dietro l'altra, oltre che a specializzarsi nella sua professione medica, diventando medico olistico.

Di lì a poco conobbe una nuova donna di origine iraniana, Salka Valentina Picon, avvocato penalista e criminologo, da cui ebbe altri due figli, Salka Elisabeth e Tarek Gonzalo.

Finalmente dopo tanta gavetta iniziò ad arrivare il grande successo internazionale quando i produttori scommisero sulla sua bravura e gli affidarono il ruolo di protagonista nella telenovela Marta, al fianco di Mayra Alejandra. Da quel momento nacque una celebre coppia, che nel giro di quattro anni girò Marta, Capriccio e passione, Cuori nella tempesta e Leonela.

Giunto all'apice del successo, Carlos Olivier iniziò a viaggiare all'estero per seguire corsi di regia, cinematografia e canto, e si fermò negli Stati Uniti per cinque anni. In quel paese, Olivier recitò in due puntate della serie poliziesca statunitense Miami Vice e presentò il programma El Gran Evento con Carlos Olivier per la rete televisiva Telemundo. Durante la permanenza negli Stati Uniti, conobbe il celebre attore Steven Seagal, noto per le arti marziali, con cui ebbe una grande amicizia.

Nel 1993 tornò a recitare al fianco di Mayra Alejandra nella telenovela Amor de papel ma non ebbe un grande successo di pubblico come in passato.  Carlos non si abbatté ma si impegnò ancora di più e prese la seconda laurea in Giurisprudenza, iniziò gli studi di Psicologia e registrò due dischi con il produttore cubano Emilio Estefan.

Nel frattempo diventò pure nonno di Luis Alejandro, avuto dal figlio Carlos Raúl con l'attrice Lisbeth Manrique.

Morì di attacco cardiaco il 22 gennaio 2007 dovuto a una malattia autoimmune, la sclerosi multipla. Gli era stata diagnosticata molto tempo prima, nel 1989, e per il suo esordio aggressivo i medici avevano dato a Carlos 5 anni di vita; l'attore non si lasciò abbattere e lottò duramente contro questa patologia prestandosi come cavia a tante cure sperimentali, alcune delle quali furono così invasive da ridurlo sulla sedie a rotelle per mesi, ma egli ogni volta riuscì ad eliminare le disabilità. La sua forza di vivere e la tenacia nelle cure mediche gli allungarono la vita fino al 2007.

Telenovelas
Historia de amor (prima telenovela non protagonista) (1968)
Prisionero de Zenda
El hombre de la máscara de hierro
La italianita (1973)
Orgullo
La indomable (1974)
Alejandra (1975)
La señora de Cardenas (1976)
Sabrina (1976)
Residencias de señoritas (1977)
Sonia (1978)
Piel de Zapa (1978)
Estefanía - Julio César Ordóñez (1979)
Muñequita (1980)
Gomez I (1980)
Gomez II (1981)
Rosalinda - Martín (1981)
Angelito (1981)
Capriccio e passione (Jugando a vivir) (1982)
Marta (Marta y Javier) (1983)
Cuori nella tempesta (Bienvenida Esperanza) (1983)
Leonela; 1ª parte (Leonela) (1983)
De su misma sangre (1983)
Leonela; 2ª parte (Miedo al amor) (1984)
Esa muchacha de ojos cafè (1986)
Enamorada (1986)
Toda la vida (1988)
Alondra (1989)
De mujeres  (1990)
Amor de papel (1993)
Peligrosa (1994)
Pecado de amor (1996)
Contra viento y marea (1997)
Carita pintada (1999)
Cuando hay pasión (1999)
Hay amores que matan (2000)
Viva la Pepa (2001)
Las González (2002)
Engañada (2003)
¡Qué buena se puso Lola! (2004)
Los Querendones (2006)

Film
Cuando quiero llorar No lloro (1973)
Retén de catia (1983)
Homicidio culposo (1983)
Aguasangre, crónica de un indulto (1987)
Inocente en línea (1991)
Atenea y Afrodita (corto) (2005)

Teatro
 Con mi mujer no puedo
 No te pases de la raya, cariño
 La mamá
 La serpiente
 Aquí hace calor

Bibliografia
 Carlos Olivier robó Corazones en la TV, El Universal, (Caracas) 23 de enero del 2007.

Voci correlate
 Telenovela
 Leonela
 Mayra Alejandra
 Carlos Cámara Jr.
 Jeannette Rodríguez Delgado
 Franklin Virgüez
 Grecia Colmenares
 Tatiana Capote
 Radio Caracas Television RCTV
 Università Centrale di Venezuela
 Telemundo

Collegamenti esterni

 sito web di Radio Caracas Television: https://web.archive.org/web/20140622025516/http://www.rctvintl.com/esp/index.php
 canale YouTube di Radio Caracas Television: https://www.youtube.com/user/CanalRCTV/about
 pagina Facebook di Radio Caracas Television: https://es-es.facebook.com/RCTVenlinea
 sito web di Venevision TV: http://www.venevision.com/
 canale YouTube di Venevision TV: https://www.youtube.com/user/venevisionweb
 pagina Facebook di Venevision TV: https://www.facebook.com/VenevisionOficial
 pagina Tweeter di Venevision TV: https://twitter.com/venevision
 pagina Instagram di Venevision TV: https://instagram.com/venevision#
 pagina web di Telemundo: https://web.archive.org/web/20090117041232/http://msnlatino.telemundo.com/
 "Mundo de letras: Más que bella, Linda... Olivier" > mundoparnasiano.blogspot.com del 21/12/2014

redpajama_set_name: RedPajamaWikipedia


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Contact your child's teacher to see how you can help.
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I am an ex student of Chethams school of Music, where I studied the piano and piano accordion.
Currently, I am undertaking my Masters in Music Industry, Management and Promotion whilst teaching secondary school music in Lancashire. I hold a PGDE with QTS, which I passed with 'Outstanding' in 2017 which ensures I have full DBS and liability insurance.
Before qualifying as a secondary school music teacher, I travelled the world as a musician and gained invaluable experience as an accompanist, piano tuner, working as part of a duo and piano technician in the UK, Spain, Canada and America.
I have taught the piano and the accordion to adults and children of all ages and abilities for over 10 years, accross the Fylde Coast and Cheshire.
I gained teaching and accompanist experience working at schools, including Knutsford Academy, Thytherington School, Shakespeare Primary School, Micheal Hall's Theatre School and Camp Kenwood and Evergreen.
As a secondary school teacher, I consistently apply all the teaching standards and my expertise in safegauaring.
I am dedicated to developing my pedagogy skills and furthering my continuous personal development, so that I am able to differentiate, tailored tuition, ensuring all lessons are purposeful to individual needs and capabilities.
I have experience in adapting lessons for teaching SEN, adults with physically disability and who are severely visually impared.


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redpajama_set_name: RedPajamaCommonCrawl


text:
Ellen DeGenerous Opens Up on tWitch's Death: 'It Seems Impossible'
tWitch's longtime friend Ellen DeGenerous is still trying to make sense of what happened.
While we'll never know for sure what exactly led to Stephen "tWitch" Boss losing his life earlier this month, his friend Ellen DeGeneres hopes fans will help honor him this holiday season to keep his memory shining brightly. On Dec. 14, it was reported that tWitch had been found dead of a gunshot wound that investigators say was self-inflicted. The news came as a tremendous shock to friends of the 40-year-old dancer and DJ, and like the fans, DeGenerous is still trying to understand it.
"I just wanted to say the past eleven days have been really tough for everyone… everyone is in pain and trying to make sense of it, and we'll never make sense of it," DeGenerous says in a new video posted to Instagram. "The holidays are hard, I think, anyway, but to honor tWitch I think the best thing that we can do is to laugh, and hug each other, play games, and dance, and sing. That's the way we honor him, is we do the things that he loved to do, which is dancing. He loved music, he loved games, so we do that. And I know it seems hard, it seems impossible, but that's how we honor him."
She goes on to add, "Hug each other and tell each other we love each other and let people know we're there for them and check in on people. So, happy holidays everybody. It's not a happy holiday, but… He was pure light, as everybody in the comments said. If you knew him, you knew that. If you didn't know him you saw it. Let's honor him and think about him and send love to one another."
Related: Ellen DeGeneres Says Farewell to Viewers as Talk Show Airs Final Episode
Stephen "tWitch" Boss Was Just 40 Years Old
Warner Bros. TV
tWitch had been so vibrant and full of life that it made his passing unfathomable for so many. Leading up to his death, tWitch has been active on social media, seemingly anticipating the holiday season with his family. Two days prior to his death, he shared a video of himself dancing with his wif, Allison Holker, to holiday music. Another post from the day before celebrated their wedding anniversary.
"Stephen lit up every room he stepped into," Holker said in a statement when tWitch's death was announced. "He valued family, friends and community above all else and leading with love and light was everything to him. He was the backbone of our family, the best husband and father, and an inspiration to his fans."
Rest in peace, Stephen "tWitch" Boss.


View cart "3D printer 3.2 inch full-color touch screen for MKS TFT32(free shipping for air parcel)" has been added to your cart.
MKS-TFT32 is a 3.2 inch full-color touch screen LCD, designed by Makerbase.It is suitable for many main board, such as MKS BASE, MKS GEN,MKS MINI, MKS SBASE, etc .But can't work with Ramps1.4.
3.2 inch colorful touch screen, support U disk and SD card.
No need to adjust firmware, support Marlin, Smoothieware and Repetier.
Step1: turn on MKS TFT32 at first time, then enter –> setting –> connection, select baud rate that the firmware use.
Others: enter –> setting –> touch screen correction, improving accuracy.
Please do not adjust the file name. Insert SD card, it will update automatically after restarts.
When is halted state on printing, then can turn it off directly.
It will keep working on last halted state when next time use.
1. Connect signal S of outage detection module to PB0 pin, cathode and anode connect to the -/+ of PB0 pin.
2,. When system fails to connect with power, outage detection module will inform touch screen automatically and enters into printing suspending status. Power supply of UPS will depart printer head from model.
1. Connect S on limited switch of detection to PB1 pin,cathode to PB1 pin – .
Caution: it will pause when switch S connects with Ground.
2. When it comes to run out of material, the limited switch will inform touch screen automatically and stop printing.
1. MKS TFT can support MKS WIFI module.
2. After MKS TFT works with MKS WIFI module, can use Printrun, Repetier-Host to proceed remote connect and control. But it may make some functions unavailable.
3. Also, it supports using APP control and Android APP test. If you need to custom-made APP, please contact seller.
4. It provides specific communication interface and APP self-development or other communication software.
Change the value after the colon of "cfg_wifi_mode" into the Wifi network you need ("1" is AP mode, "0" is client mode) .
A. WIFI name: change the WIFI name after the colon of the field "cfg_wifi_ap_name" into the hot name you need .
B. WIFI password: change the WIFI password after the colon of the field "cfg_wifi_key_code" into password of WIFI hotspot, and save it.
Awesome upgrade for the Tevo Black Widow!


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Bolt actions for custom rifles.
Firearms Marking: Some are better.
Where is all the .22 ammo?
A custom pre-war .25-20 revolver.
Keeping them in the hunt.
New life for old bores.
The inner life of cartridge cases.
We don't need which cartridges?


text:
Cornelis Engebrechtsz, encore nommé Engelbrechtsz, est un dessinateur et peintre hollandais d'origine flamande renommé pour sa peinture d'histoire et ses compositions religieuses. Formé en Flandre à Anvers, ce maître précieux dirige et anime un atelier à Leyde de plus en plus important où se mêle librement les traditions graphiques flamandes, l'inspiration chrétienne et pathétique du gothique finissant, les recherches plastiques italiénisante, voire les innovations techniques des arts graphiques. Les anciens auteurs hollandais soupçonnent ce coloriste original, soucieux de créer des tons vifs et d'accords rares, d'avoir été un des premiers utilisateur de la couleur à l'huile en son pays.

Ultime représentant conservateur du maniérisme gothique, il a vécu et travaillé essentiellement à Leyde où il est né vers 1465 et mort vers 1530. Il a contribué avec ses élèves à faire de sa ville un centre renommé de l'art, pleinement rival d'Anvers.

Variété patronymique
Le fait que son art personnel soit interprété en manifestation tardive, à la fois précieuse et dépassée, a contribué à obscurcir le grand rôle formateur et le vaste héritage qu'il lègue à ses élèves. Le patronyme peut s'écrire suivant les sources disparates : Engelbertsz, Engelbrechtsen, Engelbrechtsz, Enghelbrechtsz...

Le peintre a pu être désigné laconiquement sous le nom de Enghelbrecht l'Ancien. L'historiographe flamand des peintres du Nord Carel van Mander le désigne simplement sous le nom Engebrechtsz.

Éléments biographique
À la décharge des historiens d'art, souvent hésitants, il subsiste des incertitudes sur le lieu et ses dates de naissance et de décès. Il est peut-être né et mort à proximité de la ville de Leyde et ses six longues dernières années de grabataire sans activité sont peut-être imaginaires. En 1499, l'artisan de la communauté flamande de la ville tisserande fait partie de la garde bourgeoise de Leyde. Il est alors marié et père de trois enfants :
 Pieter l'aîné Cornelisz né en 1490. Pieter Cornelisz dit Kunst est surtout dessinateur et peintre sur verre. Il a été également drapier, associé à son cadet à Bruges. est mort en 1560 ou 1561.
 Cornelis le cadet Cornelisz, dit aussi Cornelis Kunst né en 1493. Ce peintre a séjourné à Bruges inscrit au registre de la profession drapière.
 le petit Lucas Cornelisz né en 1495. Il est appelé Lucas Cornelisz de Ko(c)k à cause de sa double profession de cuisinier et de peintre, double activité qu'il aurait exercé en Angleterre où il serait mort vers 1552.

Toutefois, il faut signaler que les œuvres des fils sont nettement moins connues, avec des attributions très sujettes à caution. Il semble que l'atelier florissant n'ait pas été repris par les fils, ce qui explique leurs itinérances.

Homme de l'art et pédagogue

Cornelis Engebrechtsz a été formé à la fin des années 1480 par Colijn de Coter, peintre religieux archaïsant actif de 1479 à 1510 dans la lignée de l'école tournaisienne représentée par Rogier van der Weyden et connu pour être franc maître à la gilde des peintres anversois en 1493. Le maître semble avoir emmené en voyage son apprenti qui a pu découvrir la Flandre et le Brabant, notamment Bruxelles.

Jeune maître, Cornelis se spécialise dans les compositions denses, les formes allongées et nerveuses, la finesse des motifs en draperie, voire les effets décoratifs les plus fantaisistes.

Le maître aussi connu pour son moralisme austère et sa grande rigueur dans la préparation et l'exécution à l'atelier est attiré par un art décoratif lumineux de type italien. Ce dessinateur soigneux, technicien conservateur de la tradition picturale franco-flamande des siècles précédents, ne bride pas l'imagination originale et spirituelle de ses élèves. Il forme ainsi ces fils et les meilleurs fils d'artisans leydois attirés par la peinture : Aertgen et Lucas de Leyde.

Une reconnaissance posthume discrète
La Passion au musée de Leyde et Hélène et Constantin à l'alte Pinacothek de Munich sont des œuvres à thématique religieuse qui lui ont préservé une reconnaissance des amateurs qui l'ont classé plus tard dans l'ultime courant du maniérisme gothique. Mais il faut signaler aussi son intérêt pour les portraits et les paysages.

Œuvre peint

 Abraham et Melchisedech, collection privée.
 Saint Jean-Baptiste et Marie-Madeleine, La descente de Croix à Aix-la-Chapelle.
 Triptyque Le Christ en croix entourée de Marie et des saints, Le Christ prêchant dans la maison de Lazare, Le Christ prenant congé de Marie, Le calvaire à Amsterdam.
 Triptyque Le Christ cloué à la Croix d'Anvers, Saint Léonard délivrant les prisonniers (recto) et Saint Georges délivrant les prisonniers (verso), Transport du cadavre de saint Hubert (recto) et Saint Hubert (verso)
 Le couronnement d'épine, La vocation de saint Mathieu, au Musée du Kaiser Friedrich de Berlin.
 Portrait de Dirk Ottens et sa femme, à Bruxelles.
 Sainte Cécile et Valerius (médaillon), L'agneau mystique, L'adoration des Mages, Portrait d'un couple, à Budapest.
 La tentation de Saint Antoine (médaillon) à Dresde.
 Descente de Croix à Gand.
 Deux triptyques à Leyde, ville du peintre :
 Crucifixion , Le sacrifice d'Abraham et Le serpent d'airain au recto, Ecce homo et le Christ insulté au verso des volets.
 Descente de Croix avec six petites grisailles, Sainte Cécile, Marie-Madeleine et la donatrice au recto, Jacques le Jeune, saint Grégoire et le donateur au verso des volets.
 Marie et l'Enfant dans un paysage, au National Gallery de Londres.
 Descente de Croix et Constantin et sa mère céleste Sainte Hélène, à l'Alte Pinacothek de Munich.
 Portrait d'homme à Nuremberg.
 Martyre de saint Jean l'Évangéliste, au musée du Louvre à Paris.
 Triptyque de la Résurrection entouré de grisailles, Les trois Maries au tombeau et Le Christ apparaît en Marie-Madeleine au recto, sainte Anne, Marie et saint Jean-Baptiste au verso des deux volets, à Schwerin.
 Le Christ sur la Croix à Stockholm.
 Triptyque au musée épiscopal d'Utrecht du Christ sanglant apparaissant à Marie, Crucifixion, Résurrection et le Christ portant la Croix sur les volets.
 Histoire de Naaman, le capitaine syrien à Vienne.
 Jérémie au puits, bois, 25 x 41 cm, Collection Harrach, Autriche
 Crucifixion, huile sur bois, musée d'art Roger-Quilliot à Clermont-Ferrand.

Notes et références

Annexes

Bibliographie
 Dictionnaire Bénézit
 Articles sur les Cornelisz et Cornelis Engebrechtsz, Dictionnaire de la peinture flamande et hollandaise, Essentiels, Larousse, Paris, 1989,

Date de naissance incertaine (XVe siècle)
Date de décès incertaine (XVIe siècle)
Peintre néerlandais du XVIe siècle
Naissance à Leyde
Décès à Leyde


text:
Cool Campus Challenge winners announced
UC Newsroom Monday, May 6, 2019
Credit: Jennifer McDougall
Kira Stoll, UC Berkeley's director of sustainability, stands with solar panels atop the Recreational Sports Facility.
The Carbon Neutrality Initiative
The Cool Campus Challenge was sponsored by the UC's Carbon Neutrality Initiative, a systemwide effort to achieve carbon neutrality by 2025, in partnership with the Center for Sustainable Energy.
After an intense flurry of carbon-reducing actions that had UC campuses tied neck-and-neck down to the last hours of the month-long competition, the results of the 2019 Cool Campus Challenge have been tallied and the Coolest UC Campuses have emerged.
Highest total points — UC Berkeley
Greatest percent participation — UC Merced
Health location with highest points — UCSF
Team with highest points — Sustainable Squad (UC Berkeley)
Competitors had four weeks to complete actions to reduce their carbon footprint ending April 26th.
A surge on the final day of competition helped push the total participants to over 22,000 students, staff and faculty from across all 10 University of California campus locations and the University of California Office of the President.
Sheer numbers weren't the only great story to emerge from the competition. "The high participation rate from the smallest campus in the university system showed the commitment our campus has to climate neutrality and to our Triple Zero Goals," said Mark Maxwell, UC Merced's interim director of sustainability.
From taking small steps like washing laundry in cold water to larger ones like reducing single-use lab items, Cool Campus Challenge participants took more than 190,000 actions resulting in over 21,650,000 pounds of carbon dioxide saved, demonstrating that even small actions can add up to a significant positive impact. Individual activities earned points that contributed to participants' personal, team and campus scores, which were displayed in real time on an online scoreboard. Sign-up events spurred participation and friendly cross-campus competition — at times UC Berkeley and UCLA were within 20 participants of each other.
While the winners secure bragging rights and a cash prize to help support a celebration, the real achievement reaches beyond the completion itself, as pointed out by Kira Stoll, UC Berkeley's director of sustainability.
"Berkeley is proud to take the crown of Coolest UC this year," Stoll said, "but it is open game next time around — and UCLA has got some chops. Ultimately this is a win for the planet and for all of us to have deeper engagement with our community."
Stoll's response highlights the primary purpose of the competition, which is to build a culture of sustainability across the UC system, according to David Phillips, UC's associate vice president for energy and sustainability.
"Small changes in our regular energy consumption can be easy to implement but we all need a little push now and then to modify our habits," Phillips said. "Cool Campus Challenge provided that friendly nudge, and I'm hopeful these new energy-conscious actions will stay with us well beyond the competition and into our daily lives."
Building awareness about the impact that everyday decisions can have on our environment is essential if UC is to reach its target of achieving carbon neutrality by 2025. The Cool Campus Challenge is one of many initiatives to help people understand and take personal action to reduce greenhouse gas emissions and combat climate change.
UC and the Center for Sustainable Energy are proud sponsors of the Cool Campus Challenge and remind all Californians that small individual steps to save energy and reduce carbon emissions quickly add up to help combat climate change in California.
You can keep taking actions to fight climate change all year long. For a quick tip on how to make your lighting environmentally friendly, check out our video below:
Credit: University of California
Berkeley gets top award for sustainability
UC Merced aims to become the coolest UC campus
UC launches Cool Campus Challenge in a push toward carbon neutrality
UC Carbon Neutrality Student Fellows tackle big climate problems
Achieving a zero carbon future


text:
Friday, October 12 @ Noon
Progress: IN SEARCH OF THE AMERICAN ESTHETIC
Salon Presenters:
Michael Davis and Stephen Moore
("Stephen passed away Oct. 19, 2006, he will be there in spirit" - Michael Davis)
About the Salon:
An Artistl/video presentation on Progress-1970-2005-parallel deja vu, documentary from two separate cross-country trips in search of the American esthetic, social consciousness, politics and road-side attractions.
Michael Davis, 1971 M.F.A. graduate of CSU Fullerton, maintains a studio in San Pedro, CA. He has exhibited in over ninety-seven solo and group exhibitions and created over forty public art installations in the U.S. and abroad. He has received two National Endowment for the Arts fellowships, the Hand Hollow Arts Fellowship, and an AIA Award of Excellence. He has been honored as a visiting artist and guest lecturer and is an active advisory board member for the University Arts Museum, CSU Long Beach and LA Cultural Affairs. He recently completed public artworks for the cities of New York and Los Angeles, and is currently working on artworks for San Francisco, Ventura and Arcadia. Progress, a multi-media exhibition, created by Michael Davis and Stephen Moore, was on view last year at Grand Central Art Center in Santa Ana, CA. A book-length catalog accompanies the exhibition, which is planned to travel to various US venues.
October 31, 1939-October 19, 2006
Stephen Moore was an artist, curator, and writer involved with visual art since the early 1970's. His interest in marginal and experimental art activity, with an emphasis on alternative exhibition venues, led him to be the founding co-director of "58F Plaza" (1971-75) with Michael Davis in Orange, CA, +LOCUS+ (1981-86) with Ann Rosenthal in Los Angeles, and therart.net.
Stephen's work explores the edge between content and image and the potential of publishing as an art medium. His print and online works have been included in numerous exhibitions of Artist Books and digital media. He was a contributing writer and editor for various art publications, including Artweek, and an editor of several art journals, including BOXCAR (Los Angeles) and WordWorks (San Jose), which won a publications award from the Western Association of Art Museums.
His pioneering website "Infinity City" (infcty.net) in 1994 with Ann T. Rosenthal, was included in the VI Salon Internationale de Arte Digital (Havana). He created "NewWebWorks", a series of digital art for the web; and developed "Infinity City: Critical Path", for the sixtieth anniversary of the atomic bomb in 2005. Stephen's unwavering vision of art as a catalyst for social change and public dialogue gave hope and courage to many. He will be sorely missed.
Labels: salon
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"Allah, the Exalted, says, 'Spend, O son of Adam, and I shall spend on you.'"
"Don't feel ashamed when giving little for charity, that is because there is always goodness in giving no matter how little."
"When you give someone charity, be thankful to them. You may be fixing their duniya (worldly life) but they're fixing your Akhirah (after-life)."
For the past 20 years, the Islamic Center of East Bay (ICEB) has offered many community benefit programs such as Sunday school for children, educational Halaqas for men and women, community hall for Islamic and social events, Islamic prayer and funeral services, and etc. to name a few. These programs, along with the cost of running a large community center, require a considerable amount of physical and financial resources on an ongoing basis. For these reasons, we often rely on the generosity of our community members to fund the various programs and children's activities.
Please consider donating generously so that our area's oldest and precious Islamic community center can continue to provide much needed services to the people of Pittsburg, Antioch, Brentwood, Oakley and the surrounding areas for many more years to come, Inshallah!
By giving away a portion of one's wealth in the name of charity, you're guaranteeing protection for you and your family from tragedy and misfortune.


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Home Language & Literature Families, Status and Dynasties: 1600-2000
The Status Hierarchy of Artists in the Making
Artists represent quite a different type of profession compared with the learned, the group discussed in the previous chapter. The roots of the artistic profession are in the craftsman's trade (Letheve 1972, 13-27). Until the early nineteenth century, the artist's skills were learned through apprenticeship to a master artist. There was no chance of receiving commissions from royal and noble courts before the successful completion of such an apprenticeship, and therefore no chance of promotion in the hierarchy of artists, for the artist's status depended on the status of their commissioners. At the same time, this connection also served to bind artists to their commissioners. The most sought-after artists were those whose paintings added to the glory of royals and nobles. Artists, therefore, had little latitude: they were compelled to paint in the royal style.
Paradoxically, however, this lack of artistic freedom in no way detracted from the prestige achieved by these works of art. For example, many of the top ten classical composers listed on Wikipedia (Wikipedia.org)—Bach, Mozart, Beethoven, Wagner, Haydn, Brahms, Schubert, Schumann, Handel and Tchaikovsky—were commissioned to entertain the rulers © The Author(s) 2017
R. Jallinoja, Families, Status and Dynasties,
DOI 10.1057/978-1-137-58073-3_6
and their courts (Cavaliero 2013, 128-30; Sutter Fichtner 2014, 144; Clark 2007, 185). Johann Sebastian Bach (1685-1750), a member of a musical dynasty, was appointed as court concertmaster to the Duke of Weimar, while his son, Carl Philipp Emanuel Bach (1714-88), served Frederick the Great for 27 years before moving to Hamburg and comparative freedom. Joseph Haydn (1732-1809) spent most of his life in the service of two Hungarian princes. Wolfgang Amadeus Mozart (1756-91) first worked as concertmaster in the Salzburg Archbishop's orchestra, but his yearning for freedom eventually took him to Vienna where he wrote music as a free artist. Many writers at the time also made their careers at courts. The German writer Wolfgang Goethe (1749-1832), for instance, accepted the invitation by the Duke of Saxe-Weimar to create a literary career at his court, although he was also appointed to a governmental post and eventually rose to the position of minister (Cavaliero 2013, 49-64). He was also ennobled for his literary and governmental deserts.
But of course there were countless other artists across Europe who did not receive such invitations to kingly or princely courts. They lived in and around big cities, in desperate poverty and together with craftsmen, shopkeepers, printers, courtesans, pornographers, tavern-keepers and rakes, as Catrell (2013, 44-5) describes the dwellers of Covent Garden in London Bohemia in the mid-eighteenth century. Similar colonies were also formed in France in the nineteenth century, consisting of 2500 persons professionally engaged in the fine arts in Paris alone (Letheve 1972, 11). These artists pursued success on their own, without the backing of royal or noble commissioners—and hence their lot was to live a life of poverty.
The status hierarchy of the artists discussed here began to take shape in the mid-nineteenth century, when the ideal of the independent artist triumphed over the restrictive academies of art, which were still putting pressure on artists to follow the old royal style. In Paris, the Ecole des Beaux-Arts, the centre of art at the time, had assumed the authority to define the standards of 'good art'. This was tested by access to the Salon. Revolt against the Academy's supremacy culminated in 1863, when rejected artists set up their own Salon des Refuses. Eleven years later, they proceeded to establish their own society, the Societe des Artistes Independants. A similar process unfolded in England where the
New English Art Club was founded in 1886 in opposition to the Royal Academy (Spalding 1998, 84). These events promoted the development of the arts into the form we know today, independent of other social orders and following its own logic, culture and values, to paraphrase the change in Weber's (1978a) terms (see also Bourdieu 1996b, 48). The group of artists leading the protest against the Academy were Impressionists, who emphasized the supremacy of auteur and the auteur's right to paint what they wanted and the way they wanted (von Lengerke 2002, 475-82). The only instruments available to artists were their talent and visionary insight into the subjects they were painting, which were soon recognized as the only authority in artistic work. The locus of glory was thus shifting from monarchs and nobles to artists themselves, signifying the glorification of auteur, the individual maker of art.
Artists are often completely ignored in social class research and its class schemata. But there are some studies that include artistic occupations in their classifications. In their British study, Goldthorpe and Hope (1974, 100-20) classify occupations based on their prestige, and rank artists third in a seven-tiered class schema. In Finland, Rauhala (1966, 344-78) reports similar results from a study of social stratification according to esteem. Here, all artists taken together ranked fourth in a nine-stratum schema. In a separate examination of different art genres, novelists emerged as the most highly esteemed; they were the only sub-category of artists ranked in the third stratum. The rest were in the fourth stratum: conductors first, painters next and opera singers last, albeit with only minor differences in value scores.
These two studies provide a useful preliminary overview of the status of artists, but I would like to go one step further and treat artists separately, even within sub-categories, rather than as a single group. The simple reason for this is that in reality artists are internally a hierarchically ordered group. Rauhala has shown that the prestige of farmers directly correlates with the size of their holdings. Farmers with the largest holdings (200-500 hectares or around 500-1250 acres) are the most highly esteemed, ranking third in the stratum classification, whereas farmers with holdings of just 2-7 hectares (5-17 acres) rank seventh. This clearly attests to the existence of a status hierarchy and suggests that in the case of artists, too, we should apply a similar evaluation—even though the measurement of status in their case is not as easy as in that of farmers or entrepreneurs, whose prestige is largely dependent on the size of their business. Artists also lack a formal hierarchy based on a clearly defined structure of offices or positions that is typical of the civil service and the clergy. In the arts, hierarchies are created individually through different kinds of status performances. We must therefore turn to these status performances next.
Let us do a case study on painters and use the art history book entitled Masterpieces of Western Art (Walther 2002) to explore how status hierarchies are created in the domain of the arts. We limit this examination to just two schools of art—Impressionists and Classical Modernists— because of their pivotal role in the renewal of art and in advancing the role of artists as independent creators of art in the latter half of the nineteenth century and the early twentieth century. Being included in an international art history book is itself a mark of excellence: in this particular case it sets apart 55 Impressionists and 66 Modernists from thousands of fellow artists who are not included. We are naturally inclined to think that those who are included are the most outstanding artists and that for this very reason they deserve to be introduced in art history books. Another performance of status is the number of paintings listed for each Impressionist and Modernist in the book. In the case of Impressionists, this number ranges from one to five—the same scale that is used in the star system to rate hotels. Naturally, 'five-star' artists are thought to be better artists than those with fewer 'stars'. These five-star artists in the book are Manet, Monet, Renoir, Cezanne, de Toulouse-Lautrec and van Gogh, all world-famous painters. An additional performance of status is receiving mention in the book's introduction to Impressionism. Apart from the five-star artists just mentioned, the introduction makes reference to Degas and Gauguin, whose paintings are not as widely exhibited in the book. Masterpieces of Western Art is more cautious in awarding 'stars' to Modernists. The only artist boasting five paintings in the book is Matisse, followed by Picasso and Kandinsky with four. In addition, the following Modernists are mentioned in the introduction of Modernism: Braque, Jawlensky, Chagall, Malevich, Mondrian, Hopper, Miro, Tanguy and Dali, most of whom are widely known artists.
As always, the new blended with the old. On the one hand, the profession of artist was one of the first to become accessible to women and therefore aroused high expectations among women. On the other hand, women's achievements in this profession remained modest if measured by the usual standard of status performances in the art domain. Women are conspicuous by their virtual absence in Masterpieces of Western Art. Berthe Morisot (1841-95) and May Cassatt (1845-1926) are the only female Impressionists mentioned in the book, and there is not a single woman in the select list of Modernists. Until quite recently, the canonized art history has not been able to imagine women's elevation to prominence (Konttinen 2010a). Until the mid-twentieth century, the lot of female artists was to remain 'minor characters', as Joyce Johnson, Jack Kerouac's girlfriend, calls those who were not acknowledged for their artistic endeavours (Wilson 2003, 83-115). True, women were welcome in artist communities, but they were mainly expected to support male artists as muses, models, cafe and salon hostesses—and as their artist husbands' housekeepers. Falling in love with an artist or a would-be artist allowed women to maintain an extended presence in artist communities. This assured women a natural-like place in Bohemia, and some of them even a central position. They were the Queens of Bohemia. For many other women, however, love affairs with artists only provided short-term access to the magical world of artists, which held great appeal for many women who longed for personal freedom and the glory of creativity.
But what about the rest of artists, those whose names are found in neither international nor national art history books? In the end, only a minority achieved fame of any sort. Most had to content themselves with casual work, in the best case work that in some way was related to art (Rigney and Smith 1961; Ransome 1984; Wilson 2003). By promoting the works of other artists and by running institutions important in the public dissemination of art, many would-be artists contributed significantly to the creation of the art field (Wilson 2003, 73; Ransome 1984, 180-2). At the same time, it is noteworthy that an unconventional lifestyle had an appeal all its own, and those who came from educated family backgrounds to proclaim and glorify the excellence of liberties in private lives played a significant role in this respect. These individuals also mixed with lower-ranking people, willingly and demonstratively, to show that they had abandoned the hierarchies of society.


A 15-meter-high climbing wall in the middle of the tourist quarter Thamel in Kathmandu – who would have thought it? "The wall is the nursery for the sport of climbing in Nepal", Dawa Steven Sherpa tells me. "All of the young ambitious Sherpa climbers have trained here." I meet the 32-year-old in the office of "Asian Trekking". Along with his father Ang Tshering Sherpa, Dawa Steven is managing the leading Nepalese expedition operator. I talk with him about this spring season on Everest – after the avalanche in the Khumbu Icefall in 2014 that killed 16 Nepalese climberes and the earthquake in 2015, that triggered an avalanche from the 7000er Pumori that hit Everest Base Camp killing 19 climbers.
Dawa Steven, Asian Trekking once again offers an Eco Everest Expedition this spring. Will it take place?
Yes, it will start from Kathmandu on 6 April. So far we have 14 foreign members and 21 Sherpas but this number will change by the end of the month.
Do you notice that there is a lower demand this year?
The upcoming spring season on Everest casts its shadows before. Ten "Icefall doctors" were sent to the Base Camp on the Nepalese side of the highest mountain on earth to prepare the route for the commercial expeditions. In the past two years, there had been no summit successes from the south (I deliberately ignore the "success" of Chinese climber Wang Jing and her Sherpa-Team in 2014 who had been flown to Camp 2 by helicopter). In 2014, the spring season had prematurely ended after an ice avalanche in Khumbu Icefall had killed 16 Nepalese climbers. In 2015, the 25 April earthquake had triggered a huge avalanche from Pumori that had hit Everest Base Camp and killed 19 people.
On Monday, the Nepalese cabinet – at last! – gave green light for the extension of the 2015 climbing permits by two years. "It is a welcome move from the government that we hope will help bring back the climbers to the mountains", said Ang Tshering Sherpa, president of the Nepal Mountaineering Association. But it might be too late for many of the about 800 climbers who got a 2015 permit, including 357 Everest aspirants, to return already this spring.
I asked Mingma Gyalje Sherpa about the upcoming season. The 29-year-old, who has already climbed seven eight-thousanders and recently made headlines by solo climbing the difficult West Face of 6685-meter-high Chobutse for the first time, is head of the Kathmandu based expedition and trekking operator Dreamers Destination.
Mingma, the spring season is around the corner. What do you expect, especially on Mount Everest?
Stricter rules for Everest permits?
The Nepalese government apparently wants to make sure that Mount Everest is taken seriously again. Speaking at an event in Kathmandu on the occasion of the World Tourism Day on Sunday, Tourism Minister Kripasur Sherpa said that new age limits and other more stringent conditions on granting permits for Everest expeditions were in preparation. It is considered to allow only climbers aged between 18 and 75 to climb the highest mountain on earth.
The Base Camps on both sides of Mount Everest have got empty eleven days after the devastating earthquake in Nepal. The climbers are on their way back. What about their permits, after they could not even make a single attempt to climb the highest mountain on earth? In Nepal, the Sagarmatha Pollution Control Committee (SPCC) has requested the government to extend this year's permits until 2016.


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Q: Why have most maximal cliques of Paley graphs odd size? I ask this question mainly by curiosity.
See here for definitions and a plot of the clique numbers of the Paley graphs for the primes $p\equiv 1 \pmod 4$ up to $10000$.

*

*Is there an explanation why more clique numbers are odd than even?

The graphic below displays the proportion of even clique numbers among the first $n$ such primes, $n\le607$, which seems to stabilize around $20\%$.

*

*As $p$ grows, is anything known about the limit of this proportion?

redpajama_set_name: RedPajamaStackExchange


Peak Recovery & Health Center is the new venture of our club's leadership, Colin Cook and Jim Piper. Their mission is to provide services to people with chronic pain or illness to help them achieve a recovery-focused lifestyle. The center offers photobiomodulation, infrared sauna, compression, float pod, and cryotherapy (whole body and localized). I visited recently to try out whole-body cryotherapy.
Here's what the whole-body cryotherapy (WBC) experience is like at Peak Recovery & Health Center. You go into a changing booth and strip down to your underwear and don a plush robe. Then you put on gloves, socks, and booties. The staff gets the cryochamber ready for you by placing removable blocks in the chamber floor to adjust it to your height and by choosing the desired temperature between minus 150 and minus 200 degrees. I chose three minutes at minus 200 degrees. The cold is achieved by liquid nitrogen. The nitrogen turns to vapor on contact with air, so while you are in the booth, you are standing in very cold nitrogen gas. When they have got the chamber ready, you step in and they close it around you. You remove the robe (but keep the gloves and booties on) and hand the robe back to the staff member. Then you have to keep moving, because the chamber is equipped with a safety system that turns it off if it stops detecting movement. They also clip some sort of sensor to your earlobe. You can satisfy the movement requirement by just turning back and forth the whole time. For the first two minutes, I found the experience less shocking than a season's first open-water swim in a wetsuit. But in the third minute, the cold began to make itself felt, and I had to remind myself — as I've done in so many workouts — I can stand anything for one minute. At the end of three minutes, they turned off the nitrogen and handed me back the robe. I put the robe back on, stepped out of the booth into room temperature, and felt a mild euphoria that was at least partly due to getting out of the cold.
The photo is Winter Windshield by Gary Millar. Creative Commons License.
But not all of the euphoria is due to relief. Some of it comes from the release of endorphins and adrenalin. And the real benefits come in the days following the treatment. In extreme cold, your body initiates a flight or flight response, redirecting your blood to your core and vital organs. The theory is that this process increases the levels of oxygen and anti-inflammatory proteins in the bloodstream, which in return accelerates the rate of tissue repair and reduces inflammation throughout your body.
The day after the treatment, I thought I could discern a reduction in the level of lower back pain I usually experience in a five-mile walk with the dog. The effect was subtle, but I am an old guy and used to back pain, so I'm attuned to its absence. I also noticed that my energy level did not fall off as precipitously near the end of the day. But here's something that wasn't subtle. On the third day after my treatment I had to have blood drawn in the early morning for my annual physical. The phlebotomist put a bandage over the needle stick. I've done this dozens and dozens of times, and usually when I peel the bandage off at the end of the day, there is a tiny red spot where the needle went in and sometimes even a small bruise. This time, however, I had a workout about an hour after the blood test and got a shower right after, so I peeled the bandage off about two hours after the needle stick. There was no bruise, no red spot, nothing. It was if I'd never had the test. I spoke with my doctor about it during the physical. He said it was a coincidence — but he's never had cryotherapy.
Nearly all the clinical tests of cryotherapy have involved multiple treatments. So I'm going back for more. I think the admittedly subtle benefits I realized from the first experience could be just the beginning of a healthier life.


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Democrats can take back public education
It began happening in the '90s—mostly throughout the South, the Midwest and the Southwest: Right-wing opponents of public education, often with an evangelical bent, began quietly taking over local school boards. Book bannings and bizarre curricula such as "creation science" followed closely behind. So did the push to establish charter schools—publicly funded by privately run education institutions with various degrees of oversight.
The rationale was to improve education in poor and poorly performing districts by allowing some freedom for innovative teaching, all carried out under the watchful eye of public boards of education.
The reality has played out differently. Critics accused the charter school movement of diverting public funds to what are essentially elite private schools, either academically (high admissions standards and tough curricula), economically (for example, not providing bussing, so that children without a stay-at-home caregiver can't attend), or religiously.
If Betsy DeVos is confirmed as secretary of Education, the use of public money to fund private education will only increase. DeVos is a major supporter of charter schools and "school choice," leading Michigan's efforts to divert public education funds to private entities and expected to do the same throughout the country.
Currently Sussex County has one charter school, the Sussex County Charter School for Technology (for middle school students) which is funded largely by Sparta property taxes (a little over two thirds) and federal and state grants. There are 24 private schools, half of which are religious (mostly Christian, including Roman Catholic).
Under a voucher program, individuals would receive X amount of public funds to offset private-school tuition. Critics point out this 1) violates the separation of church and state, and 2) diverts resources from public schools, leaving the choice of either an inferior education for one segment of students or raising property taxes to offset the drain.
None of this needs to happen; the public can safeguard public education. In New Jersey, which has a strong tradition of home rule when it comes to education, this is especially possible—but only by greasing the school board machinery.
Sussex County has a dismal record when it comes to overseeing education. In 2012, Straus News reported that 16 school districts elected candidates who ran unopposed, while some had no candidates at all.
Placing proponents of public education on local school boards thus would seem to be a relatively simple way to safeguard local school districts and resist this facet of the Trump privatization agenda.
Sparta Education Funding


text:
Mirena Birth Control Lawsuits to be Prepared for First Bellwether Trial
A group of twelve Mirena IUD lawsuits have been selected as bellwether claims in the federal court system, which will be prepared for a bellwether trial set to begin in 2016, designed to help the parties gauge how juries may respond to certain evidence and testimony that could be repeated throughout hundreds of similar cases pending nationwide.
Mirena birth control is a plastic T-shaped intrauterine device, or IUD, which is implanted into the uterus to prevent pregnancy for up to five years.
There are currently more than 2,000 product liability lawsuits involving Mirena birth control filed against Bayer throughout the United States, with about 600 of the cases consolidated in the federal court system as part of an MDL, or multidistrict litigation. The federal litigation is centralized before U.S. District Judge Cathy Seibel in the Southern District of New York to reduce duplicative discovery, avoid conflicting rulings from different judges and to serve the convenience of the parties, witnesses and the courts.
All of the cases involving similar allegations that the manufacturer failed to adequately warn about the risk of painful and debilitating injuries that may occur when the Mirena birth control implant migrates out of the uterus, causing internal damage, infections and other complications.
Last month, Judge Seibel outlined the process for completing case-specific discovery in a small group of cases, which are designed to be representative of other lawsuits in the litigation. The first federal Mirena trial date is expected to begin on March 7, 2016, but the specific case that will go forward at that time has not yet been selected.
In an order (PDF) issued August 11, Judge Seibel identified 12 cases that will be part of an Initial Deposition Pool, which will go through preliminary discovery. In May 2015, it is expected that this group will be narrowed down to six cases, which will go through expert witness discovery and dispositive motions, before the Court selects the specific case that will go to trial first.
While the outcome of the bellwether trial will not be binding on other cases, it may help the parties determine the strengths and weaknesses of their arguments, potentially resulting in a Mirena birth control settlement that may avoid the need for hundreds of individual trials nationwide.
Mirena Birth Control Complications
While Mirena has been promoted by Bayer as a "hassel-free" form of birth control, plaintiffs allege that the device is prone to spontaneously puncture the uterus and move out of position, causing severe and debilitating internal injuries.
Since 2000, more than 70,000 adverse events have been filed with the FDA involving Mirena IUD complications, including at least 5,000 cases involving women who indicated that Mirena moved out of place since 2008, and 1,322 reports where the Mirena IUD punctured the uterus.
Bayer has attempted to defend the cases, arguing that information about the risk of perforation was included on the warnings provided with the IUD. However, plaintiffs maintain that the previous warnings were vague and misleading, suggesting that the risk of injury only exists at the time of insertion. Most of the complaints involve women who found that the Mirena migrated spontaneously, often long after the IUD was successfully placed in the uterus.
In addition to cases filed at the federal level, nearly 1,000 cases have been filed in New Jersey state court, where similar consolidated proceedings have been established, centralizing all Mirena IUD lawsuits before Judge Brian R. Martinotti in Bergen County.
Mirena Statute of Limitations Dismissals
The selection of the Mirena bellwether trials comes shortly after Judge Seibel issued an order dismissing one case based on a statute of limitations defense, which could impact dozens of other cases pending in the litigation.
Following a motion filed by Bayer, which argued that the Mirena statute of limitations should start running when the plaintiff first experienced complications from the birth control implant, Judge Seibel issued an order (PDF) on July 2, dismissing a lawsuit filed by Amanda Truitt, which was selected as an exemplar for this motion.
Truitt experienced complications from Mirena birth control in July 2011, but did not file her lawsuit until September 2013, which the drug maker argued exceeded the two year statute of limitations that should be applied to her case.
Bayer argued that since the injuries caused by Mirena birth control implants are immediately obvious, the statute of limitations should start running following diagnosis of the injury.
Although Truitt's attorneys argued that she did not actually know that she had a cause of action when she suffered the complications, indicating that she thought it had been implanted incorrectly and pointing out that no doctor specifically informed Truitt that the migration was a result of the product's design, Judge Seibel dismissed all counts presented in the complaint, except for a fraud claim.
"There simply was no mystery regarding a possible connection between Plaintiff's injuries and the Mirena – i.e., the connection was sufficiently obvious that a diligent individual in Plaintiff's position would have inquired into whether she had a claim regarding her Mirena," Judge Seibel wrote in the decision. "When the plaintiff knows that the IUD is no longer in the uterus and has to be removed from wherever it has migrated, the conclusion that the statute of limitations is triggered seems unavoidable."
On August 7, Judge Seibel issued an order (PDF) was issued advising that Bayer can file individual requests to apply the reasoning behind that decision to other pending lawsuits that it believes should be dismissed based on the statute of limitations.
After sending a letter of no more than three pages explaining why a specific case should be dismissed, the plaintiff will have 30 days to either file a voluntary dismissal of their case or provide a response explaining why the facts or law applicable in their case makes the Truitt decision inapplicable.
It is unknown how many cases may be impacted by the ruling.
Tags: Bayer, IUD, Mirena, Statute of Limitations


I'm running a referral contest for Lending Club. Right now there are only three entries.
The contest ends tonight at 7PM Central time. Right now you've got a pretty good chance of winning!
Update: I got home a bit late from work, it's now 6:50PM. I'm going to step away to grab some dinner, but the contest should still close on time (7PM). I doubt there will be any last minute entries anyways. I should by putting the winner up by 8PM Central.
Update #2: Cash Money Life is the winner! He posted a comment and included a link from his blog. There were two entries, so not very successful, but he wins nonetheless. Congrats, Cash Money!


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Eliminate twisting of limbs while stringing bow. Top limb gripper fits below string loop allowing full. easy access to upper limb. Non-marring gripper will not damage limbs. Tough, nylon braid can be used on bows up to 70 lbs. Always use safety glasses when stringing a bow.


There are multiple excuses as to why endurance athletes avoid strength training like the plague. They fear they may gain weight, or get injured, or lose speed. I have heard them all… I am a "fill in the blank" endurance athlete not a body builder, why should I lift weights? I don't want to get big and bulky. This is where the professional comes in and avoids those things. Just because you lift does not mean you will get big. In fact most don't have the genetics, and the diet is not such to produce those results. The truth is that lifting weights may be the missing link to move them forward and give them that extra edge, especially the MASTERS AGE groups. Weight training helps to maintain and /or build lean muscle mass that can be catabolized during racing and just the normal muscle loss from aging can be off-set.
Weight training also boosts metabolism, regulates hormones and improves posture, which leads to one of the most beneficial reasons to add weight training to your life routine. Weight training when done properly can correct muscular and postural imbalances, caused by repetitive movements (as is done in endurance sports such as running and cycling). Also postural formations like hunch back, which can be caused by activities such as cycling, a desk job, or longer term computer work. This all can lead to all kinds of postural dysfunctions and head aches, neck and back discomforts, etc. If you don't do something to off-set the muscle loss of age you will never get it back, not to mention the performance loss that happens over time, even if you are not an athlete.
My hope is that by reading this, any myths and misconceptions you may have are now replaced with the desire to improve your performance and your life. If you are curious or motivated to get involved in a scientifically based and sport specific training program, start by seeking out a knowledgeable experienced coach or trainer. Within a short amount of time you could be enjoying your strongest, best year to date!!


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Home » ICC partners with Massachusetts to create building energy code
ICC partners with Massachusetts to create building energy code
KEYWORDS codes / codes and standards / International Code Council
The International Code Council and ASHRAE have combined efforts to assist the Massachusetts Department of Energy Resources (DOER) in the publication of a base and stretch code entitled 2020 Massachusetts Energy Code. The streamlined energy code is fully integrated – containing specific requirements designed to meet the needs of the commonwealth.
"Code officials and local government representatives together recognize the need for modern, updated building codes in the quest to achieve greater efficiency, resiliency and sustainability," said Dominic Sims, CBO, CEO, ICC. "It is critical that leading organizations within the industry continue to create strategic partnerships such as this to provide communities like Massachusetts with a set of building codes that are not only designed with them in mind but will also help them achieve their common goal of energy efficiency."
Improving the energy efficiency of buildings is a key component in Massachusetts achieving its climate and energy goals, and the adoption of new and improved building codes is an integral part of their strategy. The ninth edition of the Massachusetts Building Energy Code is based on the 2018 International Energy Conservation Code (IECC) and ANSI/ASHRAE/IES Standard 90.1-2019.
"Each community has unique needs, which is why building safety leaders must come together in order to provide local jurisdictions and states with the modern building codes based on industry consensus standards that are created specifically for them," said 2021-22 ASHRAE President Mick Schwedler, P.E., Fellow ASHRAE, LEED AP.
As part of the Green Communities Act of 2008, Massachusetts' Base Energy Code must be updated every three years to be at least as stringent as the most recent edition of the IECC. Additionally, the Stretch Energy Code must be updated periodically to provide communities with the choice of adopting more rigorous energy provisions. These new codes are designed for the commonwealth and will fulfill both requirements.
"By working with the Code Council and ASHRAE, we're able to provide all users of the energy code in Massachusetts with a single Massachusetts energy code book which provides greater convenience and clarity on our building energy codes for both base code and stretch code communities. We are working with the Office of Public Safety and Inspections to disseminate copies of this resource to all local code officials and inspectors as well as collaborating with the energy code training provided by the Mass Save program," said Commissioner Patrick Woodcock, Massachusetts Department of Energy Resources.
The Digital Codes Premium Energy Collection is a subscription service that provides access to a comprehensive digital library containing over 100 energy-related titles consisting of energy codes, standards, code commentary/guides and other energy-related educational and support materials. It is a must for those involved in enforcement or compliance with energy codes and standards.
The new 2020 Massachusetts Energy Code can be viewed: here.
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