Cheese of the Month - Rocamadour "La Borie D'Imbert"
In Rocamadour, France, you are often served a portion of the local goats cheese as a course by itself, between starters and main. Literally just a cheese on a plate, no grapes, crackers, bread, anything else. It displays a very high confidence in the quality of the product to offer it up this way, and though it was a few years ago now I travelled to those parts I remember enjoying it immensely.
Therefore I was very grateful when certain members of my family (sadly not me) returned from a trip to France with a tupperware box containing two portions of this delicacy. I appreciate their efforts even more considering the smell that box must have produced during the long journey from central France - two days in the back of the car with a box of cheese would have tested most people's olfactory endurance to the limit.
It is with great regret therefore that I have to say that the cheeses weren't up to much. How else you could have transported a cheese from France in a car I'm not sure, but my guess is that they got too warm at some stage. And perhaps the presentation was a factor too - in a Rocamadour restaurant they would have been pristine, perfectly circular medallions of cheese, and I'm afraid to say that the same cheese having been chucked around in the back of a Toyota for two days then scraped onto a cheeseboard in South London had lost some of its visual impact (see pictures). Although reasonably salty, the taste was quite bland, despite being kept for long enough at room temperature, and the texture just the wrong side of too runny. There was no unpleasant sulpuric taste but none of that rich nuttiness you'd associate with a good runny goat's cheese either.
What a shame then - to make amends I will go to Hamish Johnston and try a Rocamadour that has been treated a little better. I can assure you that when these little things are on form, there is no nicer goats cheese.
Yes, the Hoxton Grille was pretty bad. And this is a shame because I actually wanted it to be good and went in with quite an open mind. Service was good enough too, although the place was nearly empty so allowing us to choose where we wanted to sit probably wasn't too much of an imposition. And we were also (initially) impressed by the budget pre-7pm menu, which had a choice of 7 dishes from the main menu for half price.
But oh dear, the food. The two of us ordered rump steak, one with peppercorn sauce and the other with bernaise. Of the two, the bernaise was the better - the peppercorn just tasted like slightly peppery milk, a horrible thin concoction. The steaks were cooked to the required medium-rare but were anaemic looking things, tough and stringy and quite a battle to eat, even with steak knives. Is it really that hard to cook a good steak? There must be more to it than I understand because of all the steaks I've ever had in London, only those at Hawksmoor and Santa Maria del Sur have been any good. Even my own Fox & Hounds can't really pull off a good rib eye. I have a sneaking suspicion it's all to do with the sourcing of the meat, and to make a profit on anything less than a £18 steak you have to sacrifice quality somewhere down the line. Hawskmoor steaks are expensive - about £18 for the rump from memory, much more for the sirloin - but they are drop dead gorgeous things and never disappoint. Is it really worth boasting a £7 steak and chips on your menu if it tastes bloody awful?
We paid up and left, the modest bill going some way to offset the disappointment. When I got home my sister had made chocolate covered strawberries, and the bitter memory of the Hoxton Grille faded away for good.
P.S. I have just gone through this post correcting the spelling of "Grille". A ridiculous bit of Hoxtony pretention but I suppose it's their call.
A friend challenged me the other day on the huge amounts of money I was (in her view) throwing down the drain visiting restaurants, writing about them, and getting absolutely nothing from anybody in return.
"Well, I get some nice meals", I said.
"Not all the time. Sometimes you get a really bad meal, and you still have to pay for it. Why don't you find a more profitable hobby?"
"Hobbies aren't supposed to be profitable," I replied. "They're supposed to be expensive, pointless and socially damaging. You bankrupt yourself, waste countless hours blogging about restaurants you'll never visit again, and alienate and bemuse your friends.... No offense."
Occasionally though, there are perks. Last night I was invited to a screening of Pixar's latest film Ratatouille with a group of London food bloggers led by the esteemed Silverbrow. Being a bit new to the blogging game I was first of all pathetically grateful to have been invited and turned up far too early, and also incredibly nervous. But everyone was very nice, it was very much fun putting faces to names (or anonymous nom de plume) and we got free drinks.
The film itself was a stunning achievement in animation and storytelling and a delight to watch from start to finish. Being a Pixar film (tick) starring a talking animal (tick) about haute cuisine (tick tick tick) I knew I'd enjoy it, but even so I was blown away by the sheer flourishing joy of the visuals. The sequence where our rodent hero first guides his voluntary human puppet (long story) around the kitchen to prepare his signature soup was a masterpiece of visual comedy.
I was worried that after the rather so-so "Cars" that Pixar might have lost their touch, so this was a welcome return to form. Ratatouille is everything you'd want from a family film, and I can recommend it wholeheartedly. It's released in the UK 12th October.
I'm not sure whether it's a good or bad thing that The Fox in Shoreditch is a very good place to eat. On the one hand the food is accomplished, the service sprightly and friendly, and the atmosphere is pubby and informal. On the other hand, I work just above it, and being that this is my 5th day in the job and I've already cracked and had a meal there doesn't bode well for my ability to resist repeat journeys throughout the rest of the year. I only hope my body and bank account can cope with it.
Fortunately, thanks to the incredibly reasonably priced lunchtime menu, maybe my bank account will not suffer too much after all. To start, I had a red onion and red wine soup, a bit sweet but otherwise good and served with crispy bread coated with parmesan. Towards the bottom of the bowl I bit down on a whole black peppercorn which was probably a mistake but really improved the flavour of the soup - perhaps it just needed more pepper to balance the sugar from the onions. Otherwise, nicely done.
Then, a herby pork chop, grilled with rosemary and seved on top of "greens" (chard I think) and lentils. The chard was crispy but slightly underseasoned, the lentils were so-so and the pork ever so slightly dry, but the flavour from the fat and the rosemary were brilliant.
The best was to come though - all this good food, served efficiently and with grace, came to less than £15. The house bread is worth a mention too, served in a very generous portion considering I was on my own, and with smooth unsalted butter. Good stuff.
I popped into this place last Wednesday evening because it's near to my new place of work and I'd heard positive feedback from various sources. It's tucked away on a particularly ugly stretch of Commercial Road but had a healthy number of diners when we arrived at 6pm so word has obviously gotten around.
I got the impression that this is slightly closer to a standard curry house than Tayyabs - for a start the poppadums were fully deep-fried and came with the traditional mango chutney and yoghurt sauce. However I did notice they were deep-fried very recently and still had a film of oil on the edges, which was nice, and the yoghurt sauce was slightly spiced, which added a bit of an edge to it.
Our starter really was exceptional - tikka lamb chops which were moist on the inside and covered in great tikka spiced just right. I would have been happy with plate after plate of these and was very sad to see them go - I half thought about ordering some more but decided against it.
The mains were more standard. Chicken Karahi was tasty enough but the meat was a bit dry; similarly the lamb curry was chewy and in both dishes there seemed to be a very mean amount of meat - just 5 or 6 pieces in a big bowl of sauce. Then again it was still a cut above your average curry house (and no more expensive) so no major complaints.
However, the crowning glory of the whole meal, the star of the show, was the garlic naan - unexpectedly lovely and with an amazing flavour. I don't know how they did it, but the toasted garlic tasted of almonds and were delightfully crunchy on the bite and melted in the mouth. We immediately ordered another once the first had gone.
I'd heard many negative reports of the service but we didn't notice anything too untoward ourselves, although we did have to ask for a mango lassie a few times before it arrived. If I'm paying less than £15 a head for a meal and the service is anything better than completely incompetent I don't think you have too much to moan about.
One final point of interest - despite calling itself a Kebab House, I'm not sure I noticed any kebab on the menu? Or maybe the greatness of the lamb tikka overshadowed all the other starters. Anyway, there you go - for a good cheap eat the Lahore ticks most of the right boxes, although I would still say Tayyabs is a more impressive experience overall.
P.S. I've just noticed how the pic of the main is slightly fuzzy whilst the courses I liked (the garlic naan and the chops) are again perfectly in focus. I honestly don't do this deliberately guys, I just appear to have a sentient cameraphone.
There tends to be a pattern when new styles of cuisine are introduced to this country. The pioneer restaurants will be toned down, tame versions of the originals, designed to appeal to the masses; think Pizza Express in the 60s or Yo! Sushi in the 90s. Nothing too weird, nothing too offensive to the timid British palette, but due mainly to the novelty factor they are wild successes, at least for the first few years. Then once the novelty wears off, a new wave of more adventurous outlets open that offer something more closely approximating the "authentic" taste from abroad. So then you start noticing things like octopus or squid in your nigiri, or fresh basil and real buffalo mozzerella on your pizza. I'm generalising of course, but with passing time it seems diners, having gotten over the original shock factor and bragging rights of trying something new, will demand a more genuine experience. At least, snobs like me do.
There is sometimes a "Stage 3": Having mastered the said style of cuisine, some brave restauranteurs will take it one step further, and you end up with bizarre fusions like French-Japanese or Afghan-Ethopian. Most of these are hideous, so it's generally in the what I like to call "Stage 2" restaurants are you most likely to get a good meal. So where La Tasca bravely brought spanish tapas to an anonymous shopping mall near you, Barrafina in Soho ups the ante by actually trying to do it well.
However, this is London, and there are certain conditions. Tapas in Spain (at least outside the tourist areas of Catalonia) are little plates of bitesize morsels (chorizo, bread & tomato, croquettas, etc.) that are placed on your drink for free (yes, free!) whenever you order. In Barrafina, you pay £7 for a tiny plate of skewered quail and then have to cough up another £5 for a glass of Manzanilla sherry. Still, you'd think I'd be used to it by now.
Moaning aside, Barrafina was actually a reasonably enjoyable way to spend an evening. Looking less inside like an authentic tapas bar than a 1950s American diner, there were a dozen or so red leather stools alongside a gleaming chrome bar. The food (at least most of it) was cooked on a hot plate just behind the bar in full view of the diners, which was great fun to watch. Serving staff and kitchen staff all wore the same white outfits and moved around in the same space so you actually felt quite involved in the whole process. We randomly picked a few things from the menu and sat back and watched as they were cooked in front of us.
First to arrive was Pan amb Tomate (tomato bread), which was actually as good as I've had in Spain. Tomato flesh on crunchy bread spiced with raw garlic, it is admittedly a difficult thing to get wrong but even so was very nice. A board of sliced chorizo appeared next, which were only OK but swiftly followed with sweet and succulent whole prawns cooked in salt, the best of all the dishes we tried. The special tomato salad was full of flavour but hugely overseasoned - it was crunchy with salt. I saw the chef loading it with the stuff as I was sat about 3 foot away whilst the dish was being prepared, and I probably should have said something at the time, but never mind. Next, a couple of roast quail were tasty and succulent but with quite a layer of fat and again overseasoned. The accompanying aioli was delicious however, and we kept it back to dip our pimientos in. Finally, a dish of lamb cutlets was well cooked and presented, although I'm not sure how closely this fits the "tapas" brief.
The bill, with a couple of glasses of sherry and some nice Catalan red wine, came to £70 for two. This is a lot for tapas (I can only imagine the amount of food you'd have if you spent £70 in a tapas bar in Madrid), but not a lot for London to be honest. And we did have plenty to eat and drink. So I can recommend Barrafina - they're doing the best they can providing food such as this in one of the most expensive cities in the world, and they do it with a certain amount of style.
With more awards and accolades than you can shake a stick at, most recently London's Favourite Restaurant in Harden's Guide, Chez Bruce in Wandsworth is celebrating its umpteenth year as a destination restaurant, yet unbelievably still has only one Michelin Star. I've given up trying to work out what those Michelin people are on about these days - it was bad enough they rate dross like the Greyhound and Butcher and Grill in Battersea good enough to include and the Fox and Hounds not, but when a restaurant as polished and accomplished as Chez Bruce gets less than a top rating, they must be on a different planet.
So yes, I had a good meal at Chez Bruce. A quite brilliant meal in fact, as close to perfect across all categories as it's possible to get without it being one of those dreams where you wake up and find yourself hungrily chewing the corner of the pillow. After a slightly late start due to one of our party being stuck in traffic, just long enough to sample a glass of house champagne, we made our choices from the menu whilst munching down some of the best bread I've ever eaten - Poilane I was told - with superb butter. Staff balanced the service just right - not too intrusive but there when you needed them - and the wine selections made throughout the evening were very good.
The only thing I would say is that the room was quite dark, a little on the stuffy side and slightly cramped so I occasionally got an elbow in the back of the head when the table behind were being served. But I'm nit-picking - for food of this standard I would have put up with much worse.
My starter of "Hot calf's brain and ham hock terrine with sauce gribiche, crisp potatoes and red wine" obviously caught my eye on the menu straight away. Always a sucker for exotic ingredients I am sometimes let down by the end product, but not so here - the meat was tender and tasty with a lovely little breaded nugget of what I think was more brain on top (so rich it was like fois gras). Accompanying was a little fried quails egg (OK slightly passe these days but I thought it was great), a superb red wine reduction and gorgeous crispy potatoes. A riot of colour, texture and flavour this was an absolute triumph of a dish and I would have it again and again if i could. Great stuff.
Next up, "Boned, stuffed quail with salad paysanne, shallot puree, calf's sweetbread and roasting juices". Interestingly (and delightfully), this dish was served on two plates: One, a moreish salad of fresh bacon and roasted veg (an unusual combination to be honest, but made for great texture contrasts) topped with a piece of sweetbread; the other a meticulously boned quail (kudos to the kitchen for such a skilled task) served on a lentilly red wine sauce and cooked to perfection. The flavours were rich and satisfying, the portion very generous and the crispy fried potato on top a further experiment with texture. You would not want more from any main course.
Finally, and only just unable to quite live up to the lofty heights of the previous courses, was "Orange and saffron panna cotta with bitter orange sorbet, olive oil, lemon and honey". My only other experience with olive oil used as a dessert with a disaster - a watermelon and olive oil palette cleanser I had been served in Claude Bosi's Hibiscus restaurant in Ludlow. Then it was salty and weird, a flavour clash that had everyone at the table even unable to take a second bite. Here though, the oil was the subtlest of overtones to a zingy and fresh fruit dessert, spiced with alcohol and tasting of summer. Topped with crispy chocolate lattice - those textures again - it melted in the mouth and rounded off the evening very well.
Had I had the appetite of a sumo wrestler I might have been tempted to try the impressive-looking cheesecourse. As it was however, despite being stuffed to the gills and thus probably physically unable to even get a small goat's cheese medallion down my neck, there's always the residual guilt of paying for cheeses I could pick up myself from Hamish Johnston for a fraction of the price (and would taste no different), so I passed.
The bill came to around £70 - I wouldn't have felt cheated if I'd paid twice that, as I would have done in Pied a Terre or The Square. So then, brilliant value, top notch cooking and a thoroughly enjoyable evening out. Plus the G1 bus whisked me home from just outside the restaurant to my front doorstep. What isn't there to like about Chez Bruce?


What is the fee structure of China Medical University for doing MBBS in China?
Nowadays students aim to pursue MBBS abroad. China has become a top destination for studying MBBS. China Medical University in China divides excellent education at a cost which is comparatively much lower than the cost of studying in Indian private medical universities.
One-time charge includes – Administrative Fee, Admission Fee, Registration Fee, Airport Reception Charges, Immigration Clearance Charges.


Check out this huge marquee for the Ritz Bowl in Salt Lake City. The bowling alley sign is a gigantic frame that can be seen for blocks.
It's a miracle! At least that's what some people think when they see this sign. Well, maybe not. However, this marquee for the Miracle Bowl will make any ten pin alley proud.
The Holiday Bowl features an interesting building itself that seems to date back to the mid-century. This alley seemed to have a decent crowd on hand.
Here are a couple of shots of the fine marquee at the Jack and Jill Bowl.
(Right) This swooping orange arrow points the way into the entertainment room.
The El Mark-O Lanes in Rawlins features a bowling pin outline that is a familiar sight around the Rocky Mountain area. Give the El Mark-O a shot if you're in the mood for some ten pin bowling.
Here's a shot of another Rawlins ten pin alley. This one, called Memory Bowl, features a bowling pin on top of the marquee.


text:
5 Rules for Creating Crowd-Pleasing Interactive Games
By Scott Lozier and Stephanie Van Ness Wednesday, December 12, 2018
At Integrated Computer Solutions (ICS), we create a lot of games for our clients for use at trade shows and conferences, and for sales teams to show off products. We've built a wide variety of game types, including target games, races, puzzles and 3D-immersion games. Most-often requested are trivia-based games.
Regardless of game style, we've found interactive games succeed when game creators follow these five simple rules:
1. Understand Motivation
Why would someone play the game? To win a prize (extrinsic motivation), bragging rights or because it's fun (intrinsic motivation), that's why. From our experience, the best, most successful games are the ones people want to play because they seem like fun so use this to your advantage during game development.
As for your motivation as game sponsor, you probably want players to gather around, make noise and encourage more players to join in the fun. (More players means more people being exposed to your brand.) That's always our goal. One way we accomplish that is by designing a compelling idle screen that offers just a glimpse of the game — a well-crafted teaser that captures the fun and excitement the game offers.
2. Determine Your Objective
Objectives define what your players are trying to accomplish within the rules of the game, and give players something to strive for. Some common objectives — the purpose of the game — include:
Alignment of protagonist (which team are you on?)
Rescue/Escape
Our latest game is a global race, where players compete to deliver the greatest number of packages from one city to another. Players can increase their travel speed by correctly answering in-game questions, which we've tailored to suit our client's business.
3. Create Clear, Logical Rules
People actually like rules. Rules give us structure and encourage us to be more creative and playful.
To be helpful, though, rules must be kept really simple because introducing and explaining them slows down the game. It's another screen players have to wade through before they get to the fun! But it is a necessary evil. For our package-delivery game, we kept the rules as minimalist as possible: answer the question correctly, gain speed.
4. Provide Feedback
To remain engaged, players need to know the specifics of the rules they've agreed upon, such as how much time they have to answer a question, and how well an individual player is doing relative to the goals you set for them. That means providing feedback, specifically progress feedback.
While feedback can be positive (for an incorrect answer a player might be told "Nice try" or "Keep going!" ) or negative ("Wrong answer!" or "You're losing!"), we always go for positive feedback. And immediate feedback. In our package-delivery game, players know right away when they've answered a question correctly — the indicator is a speed boost shown through animation.
5. Keep Score
Play into human nature. People love to compare themselves against others — and they like the boost of self-confidence that comes from doing well. That's one reason we always make sure players — even losing players — get lots of points. Scoring 10,000 package deliveries is impressive (player feels good about him or herself), but not as good as the winner who scored 35,000 deliveries (losing player wants to play again to try to beat that high score).
Points can be in the form of badges, orders, coins or other tokens. We usually connect the point style to the theme of the conference or client. Consider adding a formal leaderboard if the game is competitive over long periods.
As experienced game developers, we've found these rules provide an effective plan for creating winning games. One more element of a winning game: branding. We're always careful to brand a game specifically for our client so it supports their overall messaging. Without clever and appropriate branding, even the most compelling game would deliver little value to a client's business.
Here's more <fun /> game-related content. And, if you're thinking about creating a game for your business and need some expert assistance, get in touch.
Image Credit: Photo by Kira auf der Heide on Unsplash
Scott Lozier
A veteran engineer with 10+ years experience, Scott has expertise in web applications, as well as experience using web-based software for complex projects within marketing, game design and APIs.
Stephanie Van Ness
Stephanie Van Ness is Assoc. Director of Marketing Communications and Chief Storyteller at ICS and Boston UX. An experienced copywriter with a Boston University J-school degree, she writes about user experience (UX) design and innovations in technology, from self-driving vehicles to gesture-controlled medical devices. Her work has appeared in a number of industry publications, including Medical Design & Outsourcing, Mass Device, Connected World, Medical Device + Diagnostics, UX Collective and Prototypr.

redpajama_set_name: RedPajamaCommonCrawl


text:
Clive fait notamment référence à :

Toponymes
 Clive (Alberta)
 Clive (Iowa)
 Clive est une ville de l'est de l'Île du Nord de la Nouvelle-Zélande

Hydronymes
Clive (fleuve), cours d'eau de l'Île du Nord de la Nouvelle-Zélande.

Nom de personnes

Prénom
 Clive Barker, romancier
 Clive Brook, acteur
 Clive Cussler, romancier
 Clive Donner, réalisateur
 Clive Exton, scénariste
 Clive Staples Lewis, écrivain
 Clive Nolan, musicien
 Clive Owen, acteur
 Clive Woodward, rugbyman et entraîneur de rugby

Patronyme

 Catherine Clive (1711-1785), actrice, cantatrice, dramaturge et poétesse britannique du  ;
 Colin Clive (1900-1937), acteur britannique ;
 George Clive (1805-1880), avocat, magistrat et homme politique britannique ;
 Henry Clive (1882-1960), magicien, peintre et illustrateur américain ;
 John Clive (1933-2012), écrivain et acteur anglais ;
 Lewis Clive (1910-1938), champion olympique britannique d'aviron, tué durant la guerre d'Espagne ;
 Oliver Clive (né en 1998), acteur français ;
 Percy Clive (1873-1918), militaire et homme politique britannique ;
 Robert Clive (1725-1774), général britannique, gouverneur du Bengale.

Autres
 Clive, un personnage de la série de jeux vidéo Suikoden

redpajama_set_name: RedPajamaWikipedia


You would be in a position to take AWS Solution Architect Certification Exam and qualify with good marks.
Having command over various options, services and tools available including compute, database, storage, management and other options.
In this course, we would explore Amazon Cloud- Amazon Web Services. We would explore AWS Solution Architect Certification that one can take, exploring the learning path.
This course is generally for aws certification aspirants providing them all the necessary information regarding various certifications in different domains before taking actual exam, in a manner to maximise the benefits of certification and chances of being certified.
Anyone who is interested in making a career in cloud computing.
Anyone who may take AWS Solution Architect Certification Exam and would be preparing for it.


This Primer is used for all wooden surfaces only. Available in 5litre Containers.
This primer is recommended for wood surfaces only. Use of adhesive without primer will infringe manufactures guarantee. Always follow manufacturers installation guide.


text:
Q: How do you implement inheritance with tables that have multi-column/composite primary keys (JPA 1.0 @IdClass)? Given the following tables:
CREATE TABLE Employees
(
  first_name VARCHAR(50) NOT NULL,
  last_name VARCHAR(50) NOT NULL,
  birth_date DATE NOT NULL,
  PRIMARY KEY (first_name, last_name)
);

CREATE TABLE Managers
(
  first_name VARCHAR(50) NOT NULL,
  last_name VARCHAR(50) NOT NULL,
  salary INTEGER NOT NULL,
  total_bonus INTEGER NULL,
  PRIMARY KEY (first_name, last_name),
  CONSTRAINT managers_employees_fk FOREIGN KEY (first_name, last_name) REFERENCES Employees (first_name, last_name)
);

CREATE TABLE Workers
(
  first_name VARCHAR(50) NOT NULL,
  last_name VARCHAR(50) NOT NULL,
  wage INTEGER NOT NULL,
  PRIMARY KEY (first_name, last_name),
  CONSTRAINT workers_employees_fk FOREIGN KEY (first_name, last_name) REFERENCES Employees (first_name, last_name)
);

how would you implement the entity and composite primary key classes using JPA 1.0 @IdClass annotations?
Sub questions arising are:

*

*Do sub classes define their own ID classes?

*If so, do they inherit from the super class' ID class?

*Do sub classes get @IdClass annotations?

Note the question is intentionally naive. I'd like to see the class declarations, properties with field access annotations without getters and setters will probably suffice.
Thanks

A: PK is defined in the root of the inheritance tree. The root defines all.
The spec says
The primary key must be defined on the entity class that is the root of the entity hierarchy or on a mapped superclass that is a (direct or indirect) superclass of all entity classes in the entity hierarchy. The primary key must be defined exactly once in an entity hierarchy.

redpajama_set_name: RedPajamaStackExchange


I'm a Biochemist turned programmer after two Masters where I developed web apps for mathematical simulations in biology and worked at a laboratory automation startup. I am French, and I was raised in Paris and Shanghai. Thanks to this background and the fact that I attended international schools I am fluent in both French and English. My high school qualification is the International Baccalaureate (IB). Along STEM subjects I took both English and French at Higher level. I took part in the STEM ambassador program in London (where STEM graduates help local schools teach science) and since I've enjoyed the experience I'd like to continue sharing my passion for programming and science.


text:
About Rare Cancers Europe
RCE Goals & Task Forces
Improving the methodology of clinical studies and regulatory practices in rare cancers
Improving the organisation of healthcare in rare cancers
Improving access to rare cancer treatments and standard of care
Improving the education of healthcare professional and information on rare cancers
What are rare cancers?
Definition of Rare Cancers
"Families" and List of Rare Cancers
Specific Challenges of Rare Cancers
Rare Cancers in Europe
European Reference Networks
RCE's involvement in EU Policy
RCE & JARC
Rare Cancer Agenda 2030
About the Rare Cancer Treatment Portal
Rare Cancers Asia
Rare Cancers Europe
Rare Cancers: The challenge of accurate diagnosis - press release
Brussels, Belgium - 11 February 2014 - Inaccurate diagnosis is a major obstacle for the proper treatment of patients with rare cancers. A Consensus on Improving the Pathologic Diagnosis of Rare Cancers (1) was presented today by Rare Cancers Europe, together with the European Society for Medical Oncology (ESMO) and the European Society of Pathology (ESP) in Brussels. The recommendations aim to help rare cancer patients get a timely and accurate diagnosis.
The statement is the result of a two-day workshop, where the particular challenges for each type of rare cancer (1) were discussed.
"Inaccurate diagnosis means inappropriate treatment," said Paolo G Casali, from the Istituto Nazionale Tumori, Milan, Italy and ESMO Coordinator of the Rare Cancers Europe Initiative. "Pathological diagnosis is everything in oncology. There is an urgent need for solutions in health organisation across Europe to facilitate referrals in order to ensure an accurate first diagnosis for rare cancer patients."
Angelo Dei Tos, ESP Co-Chair of the workshop, said, "During this workshop, pathologists and clinicians have worked together to highlight challenges for each type of rare cancer. Diagnosing and treating cancers should always be a multidisciplinary effort."
Rare cancers affect over four million people in the EU (2) and, taken together, represent 20% of all cancer cases and a huge burden on healthcare.
Zofija Mazej Kukovič, Member of the European Parliament (MEP) and former Minister of Health of Slovenia said: "When it comes to rare cancers, there is a clear need for European Reference Networks (ERN). These diseases affect large numbers of people, even though their prevalence is low. Patients have to tackle many difficulties, most of the time without the right support.There is a strong need for more collaboration among experts, especially in small member states, as Slovenia. We, the decision-makers, need to work for our patients. The cross border healthcare directive gives us the opportunity to be more efficient when it comes to rare diseases. Cancer is a distant topic for many of us, but when it comes to our home, things change. At the end of the day, we are all patients. "
Kathy Oliver from the International Brain Tumour Alliance (IBTA) declared: "Every rare cancer patient in Europe should have equal access to the best healthcare. This includes the right to a second (reimbursed) opinion. If the best treatment is not available close to the patient's home, they should be able to contact the closest centre of excellence very quickly. ERNs are being established under the Cross Border Healthcare Directive but there is still a lot of red tape. In cancer, timely treatment is everything."
Industry representatives also attended the workshop. The Rare Cancers initiative has called on them to prioritise the development of medicines for these diseases and will hold another workshop in October to address the methodological barriers to rare cancer care.
Casali concluded: "We have worked hard on the items for this vital consensus, but the important part comes now. The implementation of the recommendations we will release is crucial to improve the lives of rare cancer sufferers."
Rare Cancers Europe Press Office
Tel: +33 (0) 6 2314 5784
(1) Lists and families of Rare Cancers
(2) The epidemiology of rare cancers in Europe (pdf)
Notes to Editor
• Rare Cancers Europe (RCE) is a multi-stakeholder initiative dedicated to putting rare cancers firmly on the European policy agenda and to implementing 39 political and stakeholder recommendations (pdf).
Last update: 11 Feb 2014
© Rare Cancers Europe 2021. All rights reserved.
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It's the end of November and I have SO MUCH TO TELL YOU! In less than two weeks' time I will graduate from my program and begin preparing to sit for my boards to become a licensed Physical Therapist Assistant in January. This has been a really long journey. Mostly fun and amazing, also quite frustrating and difficult at times, but alwaysalwaysalways worth it. This all began back in 2009 when I first began taking prerequisite courses in anticipation of going to PT or PTA school. And now it's finally all coming to a delightful close, the next door waiting to be opened.
On that note, we've expanded our family! We got a puppy! A vizsla to be exact! Back in August we took the plunge and boy what a ride it has been!
Now five months old and just under 30 pounds of raw energy and puppy love! And not so easy to curl up in our laps these days!
Speaking of expanding our family...we're doing it again! Go figure, we get a puppy and two months later we find out I'm almost two months pregnant! What an absolutely thrilling surprise!!
I cannot begin to express how EXCITED we are about all of this. And deliriously happy. And terrified all at the same time!
We just got our first snow here in the valley. So I think we need to get in our first snow run of the year. Just wanted to pop in and share all the big news!
WOW!!! Big congratulations and best wishes for all the fantastic excitement you have in your lives!!!


text:
layout: post
comments: true
title: A case for Approaches in Fate Accelerated Edition
date: 2013-08-10 10:41:25 -06:00
categories:
- leisure
- rpg
tags:
- approaches
- FAE
- FATE
---

A gentleman named Teo Tayobobayo on Google+ prompted me to write this comment to
a post by John Fiore. I'm positing it here because I think it's of interest to a
wider audience.

As a fan of Approaches in Fate Accelerated Edition, I wanted to speak to your
[Teo's] statement above: "I am saying that when someone is hacking a computer I
have a hard time deciding which Approach is most appropriate (is that Sneaky,
Clever, Flashy, Forceful... it seems like it could be any of the above) whereas
is it pretty easy for me to decide that it's a matter of Crafting."

I like Approaches because they increase the chances that players will attempt
something creative. With skills, I've heard player conversations like "I don't
have Crafting, do you?" and self-censoring their character's behavior, whereas I
hear fewer conversations like that with Approaches.

As GM, I don't choose which Approaches are more appropriate beforehand (though I
will often form an opinion as I design a situation). Instead, I guide the player
in choosing. I developed this approach (no pun intended) from narrating Dungeon
World. Extending the Approaches example from FAE page 18, let's say there's a
character named Fiona trying to creep across a dark room. The verb creep seems
to make the Approach choice clear. Or does it?

When an Approach choice strikes me as odd, I'll ask questions like "what is
Fiona trying to accomplish?", "what happens if Fiona fails?", and "what does
Fiona gain from being Forceful as she creeps across the dark room?" This can
often lead to reframing the question and more interesting stakes. Consider:

* Can Fiona creep across the dark room Carefully, without leaving a trace?
* Can Fiona creep across the dark room Cleverly, without setting off the trap?
* Can Fiona creep across the dark room Flashily, taking unnecessary risks and impressing her skeptical thief lord patron?
* Can Fiona creep across the dark room Forcefully, showing a commanding presence
and emboldening the rest of the party who's wary of traps?
* Can Fiona creep across the dark room Quickly, before the patrol comes back?
* Can Fiona creep across the dark room Sneakily, without making a sound?

I realize some of these examples are more contrived that others, but I hope the
point is clear. Approaches lend themselves better to this dialogue than Skills
do, in my opinion.

redpajama_set_name: RedPajamaGithub


In a few short weeks, our multi-city In-House Agency Roundtables begin—a series of informal-yet-intimate conversations hosted by IHAF member companies nationwide. Join us as we discuss and debate topics of interest to in-house agencies of all sizes and varieties. This year's roundtables are taking place in six different cities from 9 a.m. to 12 noon local time.
We'll start each session with a brief host presentation—a behind-the-scenes look at people, processes and practices. From there we'll enjoy a facilitated conversation about the challenges and opportunities in-house agencies face in today's multimedia marketplace. No matter what size your team or where you are in your agency's lifecycle, our In-House Agency Roundtables are sure to deliver insights and inspiration.
Six different cities. Six different conversations. One valuable experience. Join us for one (or more) of these dynamic sessions. Register today for the regional roundtable nearest you.


text:
SAH Change Agent Award Reception
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https://www.archdaily.com/919910/sah-change-agent-award-reception
The inaugural SAH Change Agent Award will be presented to the partners of the New York architecture firm Diller, Scofidio + Renfro: Elizabeth Diller, Ricardo Scofidio, Charles Renfro and Benjamin Gilmartin, at a reception at the Century Club in midtown Manhattan.
DS+R's work involves an interdisciplinary approach to design that encompasses art, architecture, digital media, and large-scale planning, with a focus on cultural and civic projects. Their Manhattan work includes the creation of the High Line (in collaboration with James Corner Field Operations and Piet Oudolf), the redesign of Lincoln Center, the current renovation of the Museum of Modern Art, and the newly-opened Bloomberg Building, home of The Shed, a multi-disciplinary arts center that moves on rails and can be reconfigured from the base of the DS+R condominium and apartment tower at 15 Hudson Yards.
The Change Agent Award will be presented during a reception featuring a short talk by Liz Diller about some of the firm's most recent and in-progress local projects, followed by a conversation with the four firm partners and Martino Stierli, The Philip Johnson Chief Curator of Architecture and Design at The Museum of Modern Art. The evening will conclude with a cocktail reception and hors d'oeuvres.
Bartholomew Voorsanger, FAIA, Voorsanger Architects, NYC
Konrad Wos, Wos and Wos Development Corporation, NYC
https://www.eventbrite.com/e/change-agent-award-reception-tickets-61820464674
Society of Architectural Historians
7 West 43rd St, New York
EventsSAHSociety of Architectural HistoriansAwardsDS + RDiller Scofidio + RenfroNew York
This event was submitted by an ArchDaily user. If you'd like to submit an event, please use our "Submit a Event" form. The views expressed in announcements submitted by ArchDaily users do not necessarily reflect the views of ArchDaily.
Cite: "SAH Change Agent Award Reception" 27 Jun 2019. ArchDaily. Accessed . <https://www.archdaily.com/919910/sah-change-agent-award-reception> ISSN 0719-8884


Lyrics to 'Number One (Radio)' by DJ Joe K Feat. Jerique. You're number 1, you can take the world higher / (When) Number 1. You can make this world better. Search results for "Joe K ft. Jerique Number One". Everything · SoundCloud DJ Joe K ft Jerique - I Want You Back (Original mix). Posted 5 years ago5 years. DJ Joe K feat Jerique - I Want You Back (Oficial Video Music HD) p. Request Chords Joe K feat Jerique - Number One (Original Mix). Request Chords.
Dj Joe K - Dancing With Me (Joe K & Beto Dias Remix). Spyzer - DJ JOE K REMIX. Entrevista - DJ Joe K. Joe K feat Jerique - Number One (Original Mix). Example - We'll Be Coming Back (R3hab EDC Vegas Remix) 02 - DJ Joe K feat Jerique - Number One (Original Mix) 03 - Vee Brondi & Marcelo Sá - Best Of. Ayak - Stay Around (For This) (David Penn Remix) 03 - Havana Brown - We Run the Night (Valetto Extended Remix) 04 - Joe K feat. Jerique - Number One.
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text:
Home » Fire Island Modernist: Horace Gifford and the Architecture of Seduction
Commentary & CriticismReviews
Fire Island Modernist: Horace Gifford and the Architecture of Seduction
Clifford A. Pearson
By Christopher Bascom Rawlins. Foreword by Alastair Gordon. Metropolis Books/Gordon de Vries Studio, 2013, 202 pages, $60.
Consider this book a handy time machine set to take you to a sun-soaked place in a hedonistic era. Bring your Speedo and Ray-Bans and let go of your hang-ups. Both a cultural history and an architectural meditation, Fire Island Modernist captures the look, feel, and sensation of gay society in the 1960s and '70s that flourished on the sandy shores and shifting dunes of the 31-mile-long barrier island of its title. Separated from the Hamptons by Great South Bay, Fire Island developed a free-spirited, car-free culture radically different from its more upscale neighbor to the northeast.
The book is also an ode to a mostly forgotten architect who designed 78 modern beach houses—mostly on Fire Island, but a few in the Hamptons—starting in 1961 and ending in the 1980s. Like so many of his clients, Horace Gifford fell victim to the AIDS epidemic, dying at age 60 in 1992.
Christopher Bascom Rawlins, himself an architect and part-time resident of Fire Island, discovered Gifford's work piecemeal and, as his book's subtitle says, became seduced by it. Rawlins's clear, graceful prose has just the right tone and style for his subject, and his selection of photographs, drawings, and illustrations brings Gifford's times back to life. Chapter titles such as "Oasis of Free Love," "Boys in the Sand," and "Form Follows Foreplay" alert readers that this book is not some musty tome from the shelves of a university library. Photographs of handsome young men cavorting on the beach and striking fashionable poses by the pool add to the book's glamorous ambience. As Alastair Gordon states in his foreword, Gifford's houses "expressed the longings of a culture that had transformed Fire Island into a free-fire zone of social and sexual discovery."
Rawlins's goal, though, is also to raise Gifford's star in the architectural firmament. "Pairing this well of sensitivity [to the coast] with jazzy improvisations on modernist themes, he perfected a sustainable modernism in cedar and glass, as attuned to natural landscapes as our animal natures," states Rawlins of Gifford. As seductive as this book is, I'm not convinced that Gifford's houses—sometimes easygoing modern bungalows, sometimes awkward attempts at geometric innovation—truly rise to the highest level of architectural achievement.
Recent Articles by Clifford Pearson
GateHall by MADA s.p.a.m.
Six Books on the Bauhaus and Modernism
Ming-De Academy by O-office Architects
Clifford Pearson was an editor at Architectural Record for over 25 years. Now with the University of Southern California, he currently serves as a contributing editor at the magazine.
A Marriage of Serious Architecture and an Informal Setting
The Architectural Model: Histories of the Miniature and the Prototype, the Exemplar and the Muse
The Experience of Architecture


text:
NMU's Colla & Gruber earn GLIAC honors
Courtesy of NMU Athletics
BAY CITY, Mich. – Sophomore guard Alyssa Colla, of the Northern Michigan University women's basketball team, has been named to the All-Great Lakes Intercollegiate Athletic Conference Second Team and sophomore guard Lauren Gruber was named to the GLIAC All-Defensive Team on Friday (March 8).
Colla, a native of Muskego, Wis., led the team in points (349) and minutes played (983), averaging 12.9 points and 36.4 minutes per game. She started all 27 games for the Wildcats. Colla scored in double figures 20 times and 20 points in five games. She scored a season-high 22 points in back-to-back games vs. Michigan Tech (Feb. 2) and Grand Valley State (Feb. 7).
Gruber, a native of West Bend, Wis., also averaged in double figures for Northern with 11.6 points per game. She played 36.1 minutes per game and started all 27 games. Gruber tallied double figures in 20 games, scoring a career-high 26 points vs. Davenport (Nov. 10). For the season, she shot 46.5 percent from the floor, 40.4 from the three-point line and 85.7 from the free throw line.
NMU finished 13-14 overall and 10-12 in the GLIAC and qualified for the GLIAC Tournament for the fourth time in five years.


text:
Q: Implement using inheritance and polymorphism I have a problem and I want to resolve it using Inheritance and Polymorphism with C++:

*

*An Equipment may be a cut-off device or a cable

*Every Equipment has an identifier N

*the cut-off device has a position : OPEN or CLOSED

*the cable has a length L

*Every Equipment has a resistance:

*

*NULL for a cut-off device

*coefficient 0.5 of the length for a cable

I had made this implementation with C++ classes:
#include <iostream>
#include <list>
using namespace std;

class Phy{
    protected :
        float resistance;
    public:
        virtual void updateResistance() = 0;
`       float getResis(){return resistance;}
};
class Organe: public Phy{
    protected :
        int position;
    public:
        Organe(int pos):position(pos){};
        virtual void updateResistance(){resistance = 0;};
        int GetPos()const{return position;}
};
class Cable: public Phy{
    protected :
        float longeur;
    public:
        Cable(float longeu):longeur(longeu){};
        virtual void updateResistance(){resistance = 0.5 * longeur;};
        float Getlong()const{return longeur;}
};

class Equipement: public Organe, public Cable{
    protected :
        int id;
    public:
        Equipement(int idd, float longe = 0,  int pos =0):id(idd),Cable(longe), Organe(pos){};
        int GetId()const {return id;}
        float GetResistance(){ return resistance;}
};

int main(){
    Equipement Equip(25, 20, 0);
    Equip.GetResistance();

    return 0;
}

In the main, I have an error : "GetResistance is ambiguous"
Also, I have doubts about my architecture, there is any conception error?
Thank you for your help


Well folks, it's the very last post for the Fat Quarter Gang. Sad but true. :( It's been such great fun and the projects have been so wonderfully, fantastic. Thank you so much to Art Gallery Fabrics for letting me play along with such a talented group!
So here it is, a sweet little trivet just for you! Find the tutorial here! Enjoy!
I'm a tea sort of girl, but will indulge in some coffee whenever I feel a need for a pick me up. Are you Team Tea or Team Coffee? Let me know in the comments to win a bundle of the pretties I used in this project!
You can also post pics of your completed projects in the Art Gallery Fabrics Flickr group! You just might win something!


text:
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text:
U.S. Orders China's Houston Consulate To Close, Ratcheting Tensions
By Emily Feng
Published July 22, 2020 at 4:04 AM MDT
The Chinese consulate in Houston, shown in April. The U.S. has ordered China to close the consulate by Friday.
The U.S. has ordered China to close its consulate in Houston, in what China called an "unprecedented escalation."
In a statement early Wednesday, State Department spokesperson Morgan Ortagus said: "We have directed the closure of [People's Republic of China] Consulate General Houston, in order to protect American intellectual property and American's (sic) private information."
China's foreign ministry said it had been given notice on Wednesday to restrict all events at its consulate in Houston and to move out all its employees by July 24.
Hours earlier, local Houston media began reporting that employees at the Chinese consulate in the city were burning documents in the consulate courtyard.
Beijing alleged the U.S. confiscated and opened Chinese diplomatic mail pouches in October and June. The Vienna Convention, an international treaty to which the U.S. and China are parties which governs diplomatic operations, prohibits diplomatic personnel and pouches from being searched.
"If we compare the two [countries], it is only too evident which is engaged in interference, infiltration and confrontation," Wang Wenbin, a Chinese foreign ministry spokesperson, said at a regular press briefing on Wednesday.
The announcement comes one day after the Justice Department indicted two Chinese hackers on charges of trying to steal research into a coronavirus vaccine.
The closure of the consulate piles strain on already deteriorating relations between the world's top two economies.
On Wednesday, the Chinese embassy said in a statement the United States' "willful and reckless stigmatization and fanning up of hatred" against China has had negative consequences for its diplomatic missions in America.
"The Chinese Embassy in the US has received threats to the safety and security of Chinese diplomatic missions and personnel more than once," it said without elaborating.
Chinese Foreign Ministry spokeswoman Hua Chunying tweeted: "As a result of smears & hatred fanned up by the #US gov, the Chinese embassy has received #bomb & #DeathThreats."
As a result of smears & hatred fanned up by the #US gov, the Chinese embassy has received #bomb & #DeathThreats.
— Hua Chunying 华春莹 (@SpokespersonCHN) July 22, 2020
Announcing the order to close China's Houston consulate, Ortagus also invoked the Vienna Convention.
"The Vienna Convention," she said, "states diplomats must 'respect the laws and regulations of the receiving State' and 'have a duty not to interfere in the internal affairs of that State.'
"The United States will not tolerate the PRC's violations of our sovereignty and intimidation of our people, just as we have not tolerated the PRC's unfair trade practices, theft of American jobs, and other egregious behavior," Ortagus said in the statement.
China immediately raised the prospect of retaliation. The foreign ministry spokesman called on the U.S. to reverse its decision on the consulate, but said, "Should [the U.S.] insist on going down this wrong path, China will react with firm countermeasures."
Chinese state tabloid the Global Times, which often serves as a conduit for statements of official policy, suggested on Twitter that Beijing could retaliate by shutting down the U.S. consulate in Hong Kong.
The U.S. also operates consulates in Shenyang, Chengdu, Shanghai, Wuhan and Guangzhou. China operates consulates in New York, Los Angeles, San Francisco and Chicago, in addition to Houston.
Earlier this month, the U.S. indefinitely delayed the return of many of its diplomats to China because of disagreements over China's COVID-19 testing and quarantine requirements, also citing the Vienna Convention.
The two countries have repeatedly sparred over each country's handling of the coronavirus pandemic, Hong Kong's diminishing autonomy and China's deteriorating human rights.
Earlier this month, the U.S. sanctioned several elite Chinese Communist Party members for their involvement in orchestrating the detention and imprisonment of hundreds of thousands of ethnic Uighurs, a Turkic ethnic minority. The U.S. has also imposed sanctions on Chinese officials responsible for Beijing's growing control over Hong Kong. China responded by banning several American lawmakers from traveling to China.
The New York Times quoted David Stilwell, head of policy for East Asia and the Pacific at the State Department, as saying the Houston consulate was "at the epicenter" of research theft by the Chinese military in the United States.
Emily Feng
Emily Feng is NPR's Beijing correspondent.
See stories by Emily Feng


text:
Softball: Porters capitalize on Griffins' mistakes
By CURT HERRONEmailFollow
Photos by Larry W. Kane for Shaw Media
Lockport starting pitcher Gianna Bauer delivers against Lincoln-Way East on Monday at Lockport High School.
Larry W. Kane for Shaw Media
Lockport's Danielle Travis is out at second base as Lincoln-Way East second baseman Lindsay LaDere completes the double play on Monday in Lockport.
Lockport's (23) Sydney Bush keeps her eye on the ball for a base hit against Lincoln-Way East held on Monday, May 6, 2019 held at Lockport High School, Lockport, Ill. Lockport won 6 to 2.
LOCKPORT – With the way that Lockport junior starting pitcher Gianna Bauer was throwing against Lincoln-Way East in Monday's SouthWest Prairie Conference Blue showdown between two of Illinois' top softball teams, she didn't worry much about run support.
Thanks to a nightmarish third inning for East in which it made five errors and helped Lockport to five runs, and a 6-1 lead, the Porters had all the offense they would need, as they went on to capture a 6-2 victory at the Lockport Athletic Field.
The Porters (21-5, 6-0) managed only one hit in that five-run five-error third inning against Griffins' starter Danielle Drogemuller, but the mistakes proved costly. The Griffins (15-4, 3-2) got a run in the first against Bauer, who threw a complete game and allowed just two hits, while striking out three. Lockport tied it at 1 in the second before the big third inning.
With the IHSA announcing the seeds for the Class 4A Thornwood Sectional on Monday, the Porters' impressive win over the perennially strong Griffins figures to make them the co-favorites in the 19-team sectional, along with Lincoln-Way Central.
Coach Elizabeth Hyland's Griffins hope to be ranked among the top four teams, along with Providence Catholic, which owns a 19-game winning streak.
"We came out and were focused, and obviously the first inning didn't go as planned," Porters assistant coach Angela Cushman said. "But we got out of it, and it was 1-0, and we knew there was a lot of game left, and we had some at-bats and thought we had energy throughout the game that was excellent, and we stayed focused. Defensively, we made most of the plays we needed to make, while Bauer was able to mix it up on the mound, and we were aggressive on the bases and took advantage any time that there was a mistake."
Kara Riordan was the only East player who had multiple hits, going
2 for 3 with an RBI. But perhaps her best contribution in the game was gathering a flip throw at third base from her twin sister, shortstop Kelli Riordan, to end one of the few East threats.
"The greatest quality of this team is that we're all really good friends, and we also bond together, and we play as one team, and no one is for themselves," Kelli Riordan said.
The Porters got runs from Alyssa Drogemuller, Julia Foster (RBI), Payton Grcevic, Lauren Johnson, Brooke Ligacki (RBI) and Kelli Riordan (RBI), while Kara Riordan also drove in a run.
"Our defense helped to settle me down after the first inning," Bauer said. "We saw an opening, and we definitely made it work. With our strong bond as a team, I think that we can definitely get there."
Platek pitches Knights past Angels
Angels squad captures big victory over Porters
Lincoln-Way Central rallies past West
Softball: Kleffman's no-hitter leads Lockport to WJOL title


text:
Apollo Awards 2020
Rakewell
Art News Daily
Apollo Events
'Wood suits me, I'm a Saxon!' – an interview with David Nash
Martin Gayford
Ash Dome (1977–ongoing), David Nash. Photo: courtesy the artist; © David Nash
'Making art outside,' David Nash explains, 'is completely different from working inside.' He looks around the East Sussex drawing studio in which we are talking, and adds: 'In here we've got four walls, a flat floor and ceiling. We've neutralised the elemental forces. As soon as you go out there, you are dealing with slopes, wind, air, rain. You are in another dimension. You are not necessarily in competition with it, but you are in it.'
Nash is not unappreciative of interiors. He still relishes the vaulted grandeur of the refectory at the Romanesque abbey of Tournus in Burgundy, where he had an exhibition in the late '80s. And he is very pleased with the high, classical spaces of the National Gallery of Wales, where his work is on show at the moment. But, essentially, he is an open-air artist. 'I like to get out there in the land, and make art with what's there, and be out there.' So, in an absolutely direct way, Nash is a land artist.
David Nash (b. 1945) photographed at his home in Lewes, East Sussex, in May 2019. Photo: Benjamin McMahon
His work is concerned with wood and trees – he doesn't distinguish between them – and two of his most celebrated works, Wooden Boulder (1978–ongoing) and Ash Dome (1977–ongoing) were made, and remain, in situ. But in neither case is that term entirely accurate, because the former moved a considerable distance over 40 years. Wooden Boulder is what Nash terms 'a going sculpture'; Ash Dome, on the other hand, is 'a coming sculpture'. Wood, according to Nash, is always either coming or going – that is, growing, or beginning to return to its constituent elements. 'It's coming as a tree, or going as a dead piece of wood. When we make a table we borrow it out of the cycle, but if we put it outside it will go back into the cycle.' Wooden Boulder was – and perhaps still is – going in another sense. Nash carved an approximately spherical, half-ton chunk from the trunk of a 200-year-old oak in 1978, using a chainsaw (a favourite sculpting tool). It then travelled some 15 miles down the River Dwyryd, out into the estuary, where it disappeared in 2015 (though it is not beyond the bounds of possibility that it may re-emerge once more). Ash Dome, a structure woven by Nash from living trees, was a growing thing, constantly coming into existence. But it is also going now, a victim of ash dieback. In neither case, however, is their creator disconsolate. This, he muses, is the one point that the naturalist and writer Roger Deakin got wrong in a wonderful chapter about Nash in his book, Wildwood (2007). He describes Nash searching obsessively for Wooden Boulder. While the artist admits he looked quite hard, he insists he wasn't sad. 'This was a going sculpture, so the fact that it was gone was a victory!'
Wooden Boulder (1978–ongoing), David Nash, in 1978. Photo: courtesy the artist; © David Nash
Wooden Boulder (1978–ongoing) in Bronturnor stream, 1990. Photo: courtesy the artist; © David Nash
Part of the point of these works was an engagement not only with the elements, but also with the dimensions – space and time. 'The great thing is that it's a narrative, and I'm big on narrative. I always felt with the Wooden Boulder and Ash Dome, it was the time experience – quite different from a painting or a conventional sculpture.'
Nash's works have a paradoxical quality, which is one of the most appealing things about them. On the one hand they are utterly straightforward, simple and, up to a point, practical. On the other hand, they are metaphysical: concerned with the ultimate nature of things. Some of his most intriguing creations take the form of utilitarian objects. Ash Stick Chair (1979), for example, partly has the shape of a chair, and Cracking Box (1990) is a box of sorts. But neither is exactly functional. The pieces of ash that form the chair (subsequently cast in bronze) appear to be sprouting twigs, so that it is raised rather precariously off the ground as if on many legs, and the 'seat' would be prickly to sit on. Similarly the box would not be much use for putting things in, partly because Nash used unseasoned sapwood, which pulled and shrank as it aged, creating fissures through which smaller items would drop.
At a casual glance, some of Nash's work might be confused with craft. But there is a major difference. Arguably, craft is about making life more comfortable, by embellishing and beautifying our surroundings; art is about making us more uncomfortable, because it aims at making us think. Nash certainly does the latter. His Cracking Box is about the nature of wood, and the way we use it and transform it. In a way, it was made with enormous skill. As Roger Deakin observed, it 'thumbs its nose at basic rules of woodwork, triumphantly so'. Nash fitted it together with carved oak pegs, so the more the wood split and writhed, the tighter the friction of their irregular surfaces. So they pulled it together. 'I was told you had to have seasoned wood otherwise it will crack and bend and warp,' Nash says. 'I found that was quite right – but I thought it was fantastic. There was a dynamic in that. I was looking for a way of working in which the material would lead me, rather than my dominating it.'
Cracking Box is, like Wooden Boulder and Ash Dome, a living creature, animated, and with a narrative. But to make something like that would fill a true craftsperson with horror. In the '8os, Nash recalls, he was pressed by the Crafts Council to exhibit at its London gallery. When he turned this offer down, he was asked why. 'Perhaps it was foolish, but I told them why. They said, "You're being very snobbish." So I thought about it, then I explained what I'd like to do, which was going to make a real mess in there; there was going to be charcoal on the walls. They said, "We can't do that!" So I then said, "That's the difference. You want things neat and tidy, I want it rough."'
Cracking Box (1990), David Nash. Chapel Rhiw, Blaenau Ffestiniog
Nash belongs to a group of artists who like to make things raw and rough – and preferably outdoors too. He is almost exactly the same age as Richard Long. Both were born in 1945, though Nash was not aware of Long's work until he saw it at the Hayward in 1972. They would usually be docketed as land artists, together with Americans such as Robert Smithson (who was only seven years older, though he now seems to belong deep in history). But as always happens when one starts to categorise artists, differences immediately appear. The American land artists, for example, as Nash quickly points out, mainly made works in the desert of the western United States. Clearly, desert isn't Nash's natural habitat. He is a woodland person. Then the art of Richard Long is all about walking, whereas Nash's is much more about staying put.
Admittedly, he too has journeyed widely. Nash spent much of the '80s and '90s, he tells me, doing exhibitions around the world – in Tournus, Japan, Barcelona and many other spots. His motto in those years was: 'Have axe, will travel.' Nash would arrive and search for materials – often interesting varieties of wood, such as redwood in California – near the location of the show. From these he would develop ideas. 'The exhibition would require, say, 30 works, and I'd have four weeks, so there was a spontaneity to it.'
Fundamentally, however, his life and work have revolved around one place. 'My whole work comes out of my childhood in Ffestiniog.' In this respect, the comparison is with painters such as John Constable and Paul Cézanne, whose life's work is intimately connected with their early experiences of a particular terrain. The complication, however, is that Nash did not originally come from there. 'I had a bourgeois upbringing in Weybridge, Surrey.' But North Wales, and particularly the area around Ffestiniog, was a special place to him from early on. His grandfather, Nash explains, had been wealthy and lived in big houses. 'Later he didn't have any money, but he found this huge house for almost nothing. It had 40 acres of woodland, and a river that is mentioned in the Mabinogion ran through it. Every chance we got, my brother, mum, dad and I, we went up there. We just roamed. It was a fantastic adventure to explore it.'
Stick Chair (2008), David Nash. Galerie Lelong & Co. Photo: © Galerie Lelong & Co; © David Nash
It was in this landscape that, aged four or five, Nash had his first sculptural experience. Various artists have told me of such early encounters, the moment when the idea of becoming a sculptor was first seeded in their minds. For Antony Gormley, for example, it was encountering figures from ancient Egypt and Rapa Nui in the British Museum; Richard Deacon recalls the impression the majestic reclining Buddha at Polonnaruwa in Sri Lanka made on him as a boy. With Nash, it was a natural object that struck him. 'At one point on the bank there was an enormous rock, with a flat bottom but very rounded. It felt as high as this room to five-year-old me, perched on rocks, overhanging. I remember its power. It had immediacy, or animation.'
This is a crucial point for Nash and for all sculptors. After all, what they are doing is taking a bit of material stuff – stone, metal, wood – and changing it so that it is interestingly different. 'Sculptures need to be animated in some way,' Nash feels. 'They have to go outside the normal time you are in yourself; in some way they have to have something a bit extra about them as an object, to make them. Balance is one of the things that may do that, making something appear to be off-balance.' A figurative artist may make the material into the form of something else – a human being or an animal. Nash is trying to make it comment on itself: wood making a point about its own nature, and the way people interact with it.
That formative early encounter with a rock notwithstanding, stone is not the material that calls to Nash. This is despite the fact that he has lived for most of the last half-century surrounded by the towering waste tips of the slate quarries around Blaenau Ffestiniog. He is interested in the way these are accidental monuments, as imposing as the pyramid of Silbury Hill but made by chance. 'They were made by tipping waste and letting it find its own place, so the tips look as they do because of the process of their making. They weren't self-conscious.' He learned from that observation, but slate – or any kind of stone – was not for him. 'I think people find the material through their temperament. I'm a sprinter, not a long-distance runner; a lot of stone carvers are long-distance runners. Richard Serra: steel is perfect for him. Wood just suits me, I'm a Saxon!'
That's just one Nash paradox: he is an Englishman from the Home Counties, whose life and work have revolved around a Welsh-speaking area of North Wales. He bought two cottages in Blaenau Ffestiniog for £300 in 1966; a couple of years later he bought a disused chapel that has functioned as a studio, and what might be called an environmental installation of his work. More poetically, an early visitor described Capel Rhiw as 'like a forest inside a chapel'. Nash found his way back there via art school, where he was making work somewhat in the manner of Anthony Caro, but made of wood. After a while, working in Ffestiniog, he became unhappy with what he was doing. 'I was making these big, complicated coloured objects but I was getting more and more dissatisfied with the colour just being a surface. I tried staining into the wood. That wasn't satisfactory.' After a while he set himself an exercise, to discover more about his material. 'I decided to address wood in the simplest way, an ancient way: with an axe.' He cut nine rough spheres from a small ash tree that had been felled. 'When the pieces of wood were separated from the trunk, I didn't touch them any more. I so enjoyed doing this! But I hadn't really thought of them being a work of art.' He put them aside in the chapel studio, where they were covered up, and emerged much later. 'They were there, all cracked and grinning at me.' It was his eureka moment. 'I thought, "Yes! This is the way!"'
Pyramid, Sphere, Cube (1997–98), David Nash. Tate, London. Photo: Jonty Wilde; © David Nash
With certain works, 'You could do more, but you decide not to. Perhaps it's more that there isn't any more that really needs to be done without losing it. You can fuss things and it doesn't make them look any better.' As artists have been saying for a long time now – since Rembrandt at least – a work is finished when the maker thinks it is, not when it has a neat and smooth surface. Roughness is important to him, as it is to Japanese potters, and so is geometry. In the early '70s, he was clearing old floorboards out of the chapel. 'Next I made some cubes out of boards, all different sizes. They weren't cut from solids, so there were no end grains, they were all mitred. I chopped the surfaces to make them rough.' They didn't look right to Nash, just on the floor, so he made a table for them. Then he realised that the table itself was a sculpture. This was the origin of Table with Cubes (1970–71). A little later the last minister of Capel Rhiw came in to visit. 'He loved what I was doing, which was wonderful. He said, "That table is interesting, it's the same height as an altar!"'
It's true that there is something deeply serious about Nash's works, for all their directness and simplicity. He is concerned, like early Greek philosophers, with the four elements – earth, air, fire and water (and, like the Chinese, he would count wood as an element). 'When I was 14 years old, a teacher told us about the four elements, and I was so excited by that. Then he said, "We don't believe in that any more." But I did. Somehow it sparked me.' Then some years later he came across an early 19th-century Zen painting The Universe, or Circle, Triangle, Square. 'I saw a postcard of the inspired drawing by a Japanese artist, Sengai, which I loved although I didn't really know why. It's freehand, but perfect. I realised that anything could be perfect, so long as you do it in the right way'.
Many of Nash's works are perfect in a highly idiosyncratic fashion. Describing Wooden Boulder as it embarked on another leg of its odyssey, extracted by the tide from the alluvial mud of the Dwyryd estuary with a loud squelch and floating away across the water, Nash exclaims: 'It was so alive, it had become a creature!' One wonders if, in a typically non-figurative manner, it is also a bit of a self-portrait.
Wooden Boulder (1978–ongoing) in the Dwyryd estuary, 2013. Photo: courtesy the artist; © David Nash
'David Nash: Sculpture through the Seasons' is at National Museum Cardiff until 1 September.
From the July/August 2019 issue of Apollo. Preview and subscribe here.
The art of rocks, ruins and ruptured landscapes
John Ruskin, Paul Nash and a host of more recent artists have found geology a rich seam to mine
The British artists going back to the land
How artists over the past century have tried to preserve, renew and reinvent the English countryside
Richard Long: The Last Amateur
Nearly 50 years ago, Richard Long transformed a simple walk into a radical act. The artist talks to Apollo about mud and mark-making, his new prints, and why he can't stop walking
Jilli Roberts Aug 15 2019 at 2:25 am
I thoroughly enjoyed this article on an artist I discovered, as an art student, in the 80s. To my mind, he invented a new form of discourse between Man and Wood, which has matured into something wonderful. Thank you.
Leave a Reply to Jilli Roberts Cancel reply
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Keeping time – the Tunisian clock monuments that tell of a bygone regime
A decade after the uprisings that led to the downfall of Zine El Abidine Ben Ali, the clocks he loved remain
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The region is full of important sites that have not yet been fully recorded or studied
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Acquisitions of the Month: December 2020
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The week in art news – Indian Supreme Court approves plans for new parliament complex
On Tuesday, the Supreme Court of India dismissed objections to the construction of a new parliament complex in New Delhi. The plans, announced…
Bill restituting artefacts to Benin and Senegal passes into French law
The French parliament has finalised the restitution of 26 artefacts to the Republic of Benin and one to Senegal. Speaking…
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The meaning of tens of thousands of recently discovered rock paintings in Colombia will be a hotly debated topic for many years to come
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Q: Object maping in ES next I have an array of object with a status property:
[{
...
status: 'enable'
},{
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status: 'enable'
}...]

the status property can have 2 values: 'enable'/'disable'.
If status 'enable' I would like to set it to disable and vice-versa.
Instead of doing following:
if(obj.status === 'enable')
    obj.status = 'disable'
else
    obj.status = 'enable'

I would like to map the enable status to a true boolean (and disable to false) and do the following:
Mapping[obj.status] = !Mapping[obj.status] // this should change the status value

is it possible?

A: You could take an object for changing the value.
const change = { enable: 'disable', disable: 'enable' };

// in loop
obj.status = change[obj.status];


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Victory for Great Britain & Ireland at the Seve Trophy
Great Britain and Ireland held off a strong challenge from Continental Europe to take the Seve Trophy in France.
Continental Europe, led by Jean Van de Velde recovered from an overnight five point deficit to level the tie at 11.5 points each.
But GB&I, did enough in the final matches to wrap up a sixth consecutive win in the trophy.
Mark Foster sealed victory with a one up win over Raphael Jacquelin to reach the decisive 14.5-point mark.
GB&I's fightback came as Scott Jamieson finished one up against Pablo Larrazabal to swing the momentum back in McGinley's team's favour.
World number 19 Ian Poulter sank a crucial birdie on the 18th to take victory over Matteo Manassero, before Foster secured the trophy.
The final pairing of the day, Ross Fisher and Peter Hanson, ended their battle all square.
Foster commented "It feels amazing and I'm pleased for the boys. I was playing really well and then lost the pace of the green for four or five holes and let Raphael back in, and I knew I was in for a game then so I had to refocus. It would have hurt a lot if we hadn't won today and I'm glad to pull through."
Velde's tactics of opting to field his in-form players in the top order nearly paid off as Thomas Bjorn led the way as he came from three down to beat Lee Westwood 2&1. There were also wins for Anders Hansen, Francesco Molinari, Alexander Noren and Miguel Angel Jimenez.
As the gap closed Britain and Ireland, dressed in red golf clothing, held on and went past the winning 14½-point threshold. McGinley said: "Lucky I had the team well balanced out, and had not just experience but guys in form balanced throughout the team, so they came through in the end.
"Scott Jamieson's match was huge. That kind of turned the tide in our favour. I actually focused mostly on Scott's game. I walked every shot with him from the 14th. I knew how pivotal that match was going to be and he was brilliant.
"I get a huge sense of satisfaction seeing someone like Scott or David Horsey coming though the way they did. Mark Foster as well. And of course Ross Fisher was a rock at the end."


Located in the Bluegrass State, as of the 2010 census, Fayette County had a population of 304,473.
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When compared to the commonwealth's average median age of 38.3 years, Fayette County's median age is 4.3 years younger.
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Characteristic: power steering unit and track rod ends with imperial threads.
Series I: Jaguar short wheel base models from 1P1239 and 1P50141, Daimler short wheel base models from 2A1103 and 2A50003, all Jaguar, Daimler and Vanden Plas long wheel base models.
Series II: Jaguar Saloon to 2R3922 and 2R53902, Daimler Saloon to 2K2196 and 2K50090, Vanden Plas to 2P1872 and 2P50055, Jaguar Coupe from 2G1014 and 2G50000, Daimler Coupe to 2F1003 and 2F50001.


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Home » Politics » Keir Starmer FLIP FLOP: Labour's SIX positions on school closures in less than a year
Keir Starmer FLIP FLOP: Labour's SIX positions on school closures in less than a year
Keir Starmer grilled by Coates over possible school closures
Since the start of the pandemic, the Labour Party has changed its opinion on whether schools should open on at least six occasions. Prime Minister Boris Johnson has seized upon the lack of clarity from the Opposition to accuse Sir Keir of being "captain Hindsight" and announcing his position only once it becomes clear how the Government is going to act.
In July last year the Prime Minister said Labour had "more flip-flops than Bournemouth beach".
In an awkward moment for the party in December, high profile members of Labour even contradicted each other on whether schools should remain open, with Sir Keir and London Mayor Sadiq Khan publicly at loggerheads on the issue.
Yesterday the Opposition's lack of clarity on its view on schools was made clear again.
In the morning the party's shadow education secretary said Labour believed schools should close as a last resort.
But, by the afternoon, just hours before the Prime Minister announced to the nation his intention to close schools, Sir Keir suddenly announced a change in position and called for them to shut.
Express.co.uk has taken a look at how Labour's position has flip-flopped from calling for schools to open, then remain shut, then open, then shut again since Sir Keir Starmer became Labour leader.
April 29 2020: Labour leader says schools should open as soon as possible
Just two weeks after taking over as Labour leader, Sir Keir was eager to see schools reopen as quickly as possible.
The Opposition warned online learning was no substitute to face-to-face lessons and called for the Prime Minister to outline an "exit strategy" to the lockdown.
A spokesman said: "We are concerned that the longer the schools are shut the bigger the inequalities between those children that have access to good homeschooling versus those who may not have access to good homeschooling, because of overcrowded accommodation for example."
May 23 2020: Keir Starmer refuses to back opening schools at start of June
A month after urging the Government to outline a strategy that would see school children return to classrooms, Sir Keir appeared unwilling to give his backing to Boris Johnson's plans to open schools at the start of June.
Not supporting any set timetable he said schools should reopen when they were "safe".
He told The Telegraph: "The question is, can we increase the numbers of children going back into school?
"I want that to happen as soon as it can."
August 15 2020: Schools must open in September "no ifs, no buts"
With coronavirus cases starting to rise again in August, there was concern across the country about whether schools could re-open in September.
Boris Johnson said it was his "moral duty" to ensure children were in classrooms for the start of the new academic year.
Sir Keir went further and said the Prime Minister had a "moral responsibility" to ensure schools opened.
Writing in the Mail on Sunday, he said: "Let me send a very clear message to the Prime Minister: I don't just want all children back at school next month, I expect them back at school.
"No ifs, no buts, no equivocation."
'It's been hell' Distraught father of 5 reduced to tears over lockdown [VIDEO]
Boris faces Tory revolt on Covid as MPs submit no confidence letters [UPDATE]
School closures: Hartley-Brewer slams 'Corbynista' unions [WATCH]
December 14: Labour's Sadiq Khan calls for London schools to close early for Christmas
Amid surging coronavirus cases across the capital, the London Mayor wrote a letter to the Prime Minister urging schools to be closed early for Christmas and to re-open late in January.
Labour was split on the issue, with the party leader publicly disagreeing with Mr Khan's stance on LBC radio.
He said the London Mayor should "talk to the Health Secretary about what we can do this week to keep schools open".
He added: "I'm very reluctant to close our schools down."
January 4 2021 morning: Labour says schools should stay open during lockdown
On January 3 Sir Keir Starmer demanded Boris Johnson introduce a national lockdown within 24 hours.
Explaining the party's position the following morning, shadow education secretary Kate Green said a fresh lockdown would help keep schools open.
She said: "We've always said schools should be the very last place to close.
"We're seeing the opportunity of a national lockdown, on the terms that I've just tried to describe, to enable us to try to get this virus under control and to keep children in class and learning."
January 4 2021 afternoon: Sir Keir Starmer says schools must close as part of a lockdown
Just hours after his education spokeswoman said Labour supported keeping schools open during a lockdown, the party appeared to have once again changed its view.
Speaking to the media, Sir Keir Starmer said: "We need to go back to where we were in March with very, very strong messaging about staying at home.
"I'm afraid that the closure of schools is now inevitable and therefore that needs to be part of the national plan for further restrictions."
Great White Sharks 'more than likely' in British waters after more than 100 'sightings', fisherman and experts say
Sadiq Khan humiliated: London Mayor's leadership on Covid ripped apart in damning poll
Prince Harry's Royal Family exit to be 'blueprint' for Princess Charlotte and Prince Louis
Schools will be given two weeks notice before pupils can return
Priti Patel speech: What time is the home secretary's announcement?
Fiendish optical illusion asks if YOU can spot the words hiding in these patterns, and only 2% of people can
Golden retriever yowled in agony while being electrocuted by faulty drain cover
No big potholes for Biden transport pick Pete Buttigieg in historic US Senate hearing


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Rebecca Burdine
Left-right patterning in the vertebrate embryo
433 Moffett Lab
Rebecca D. Burdine
HOME / PEOPLE /
Associate Professor of Molecular Biology
Rebecca Burdine joined the faculty at Princeton in 2003. Her lab focuses on understanding the mechanisms that control left-right patterning and asymmetric organ morphogenesis. The lab also explores other developmental process involving cilia, including kidney structure and skeletal formation. She was named the 44th Mallinckrodt Scholar for the Edward Mallinckrodt Jr. Foundation, and received a Scientist Development Career Award from the American Heart Association in 2003. She is on the Editorial board for Cell Reports, and regularly serves on grant review panels for the NIH and NSF. At Princeton, she teaches the undergraduate course Mol348 Cell and Developmental Biology with Professor Devenport, and team teaches the graduate course Mol506 Cell and Developmental Biology.
Dr. Burdine graduated summa cum laude from Western Kentucky University, majoring in Recombinant Gene Technology with a minor in Chemistry. She received her Ph.D. from Yale University for her thesis work with Dr. Michael Stern that included identifying and characterizing C. elegans egl-17, one of the first FGFs identified in invertebrates. She determined that EGL-17 provided a directional cue for migrating sex myoblasts, providing insight into the role of FGF signaling in cell migration. Dr. Burdine carried out her postdoctoral research in the laboratory of Alexander F. Schier (Harvard) when he was at the Skirball Institute of Biomolecular Medicine at New York University. Using zebrafish as a model system, she focused on Nodal signaling and the mechanisms underlying vertebrate left-right patterning. Her work helped to ascertain that Nodal signaling is not required to generate organ asymmetry, but instead acts to consistently bias the asymmetric placement of these same organs. How Nodal biases organ asymmetry is a major focus of her current research.
Dr. Burdine is also parent to a child with Angelman Syndrome, and was a founding member and Chief Scientific Officer for the Foundation for Angelman Syndrome Therapeutics from 2008 until 2016. She also served on the Scientific Advisory Board for the Angelman Syndrome Foundation. Dr. Burdine currently serves as Chief Scientific Officer for the Pitt-Hopkins Research Foundation.
MOL 506: Developmental Biology
MOL 348: Cell and Developmental Biology
rburdine@princeton.edu
Divergent effects of intrinsically active MEK variants on developmental Ras signaling.
In vivo severity ranking of Ras pathway mutations associated with developmental disorders.
Modeling Syndromic Congenital Heart Defects in Zebrafish.
c21orf59/kurly Controls Both Cilia Motility and Polarization.
Spring rotation student Christina Karas joins the lab
Meagan Grant receives Honorable Mention from the NSF
Daniel Grimes awarded American Heart Association Postdoctoral Fellowship
Washington Road
Dr. Burdine's office: 609-258-7515
lab 609-258-5782
Faculty Assistant
Laisa Eimont
Email Laisa
419 Schultz