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Anna Maria Maiolino, Joao & Maria (Hansel and Gretel), 2009/2015. Courtesy of the artist, Galleria Raffaella Cortese, Milan and Hauser & Wirth. Installation view Kunsthaus Baselland 2021. Photo: Gina Folly
ANNA MARIA MAIOLINO: IN THE SKY I AM ONE AND MANY AND AS A HUMAN I AM EVERYTHING AND NOTHING
Anna Maria Maiolino (b. 1942) is one of the most significant women artists working in Brazil today. The Italian-born Brazilian artist's first institutional solo exhibition in Switzerland, at Kunsthaus Baselland, features a selection of her early videos, films, photographs, poems, and texts, spanning a narrative arc through her artistic work and life from the 1970s to the present.
The exhibition brings together a selection of works from the past fifty years. Her oeuvre encompasses a wide range of disciplines and media while managing to develop a strong poetic language in each. In it, she explores her identity as a woman, a woman artist, and an immigrant, especially under the military dictatorship in Brazil from the 1960s until the 1980s.
As her work has influenced generations of artists all over the world, reconsidering it today is a great opportunity for opening up new perspectives on life and living together. The work confronts us with the power of the artist's imagination and her own sensibility towards human conditions, but also her acute awareness of social and cultural deficiencies in daily life.
Installation view of Anna Maria Maiolino exhibition at Kunsthaus Baselland 2021. Photo: Gina Folly. Courtesy of the artist, Collection Carmela Sanguedolce and Galleria Raffaella Cortese, Milan.
«I can say that my language represents me and reproduces what I am, as it is the instrument of communication, my tool to communicate my emotions and feelings, especially if we consider all the different media I use to construct my art.»
ANNA MARIA MAIOLINO IN CONVERSATION WITH INES GOLDBACH
Ines Goldbach: I'd like to start by talking to you about language, which plays a central role in your work: language as a source of identity, as a way of expressing yourself, and as a malleable material at the same time. You were born in Italy, emigrated to Brazil with your family when you were young, spent a few years in New York, and then returned to Brazil, where you still live today. Your exhibitions around the world have always brought you back to certain places. We speak Italian and English together. Your catalogues and books, as well as the titles of your works, are in Portuguese and English. What does this form of multilingualism mean to you? In which language are you most at home? Is there a language in which you can think, speak, dream, or even find titles particularly well? How do the languages differ for you?
Anna Maria Maiolino: Speech and language have always stoked my imagination, my fantasy, in a particular way, despite the dilemma and difficulty I have faced learning the languages of each new country in which I have lived as a foreigner.
As time has gone by, I have learned to value the meaning of each spoken word as a reflection of a thought. That is why I began to use them together with graphic and pictorial signs to construct artworks and write poetic texts. Without a doubt, I can say that my language represents me and reproduces what I am, as it is the instrument of communication, my tool to communicate my emotions and feelings, especially if we consider all the different media I use to construct my art. Portuguese has been my main language since 1960. However, my erratic speech, far removed from traditional syntax, seeks to evade grammatical rules and insists on being close to the use of other languages—a daring aspiration— as an "exercise of freedom." Learning each new language always put me back to the start, to the beginning: to the sounds of the alphabet and consonants. I believe that my nomadic life experience, encountering different cultures and territories, is a solid presence in my spirit, like a metaphorical mirror: "the return to the start." In a text from many years ago, I wrote: "Whenever I am confused, lost in my artwork, I go back to the start, to the beginning. This movement of constantly returning to the start is present in my works and processes, such as the series of drawings Marcas da Gota (Drop Marks) from 1994 and in the collection of basic shapes modelled in situ that compose the Terra Modelada (Modeled Earth) installations from 1994/2021." I enjoy naming works. They suggest concepts, ways of thinking that, in a way, precede the construction of the work and, far from being symbolic, are enough to indicate and signify the works.
Anna Maria Maiolino, Sem Título (Untitled), serie Leonardo Engenho-Fotopoemação (from series Leonardo Engenho – Photopoemaction series), 2007. Courtesy of the artist, Galleria Raffaella Cortese, Milan. Installation view Kunsthaus Baselland 2021. Photo: Gina Folly
«I don't prioritize or value one medium over any other.»
IG: There are times when you use certain languages and texts—times when you are perhaps writing more than creating sculptures in your studio, or working on videos or drawings, and so on.
AMM: The texts emerge for all sorts of reasons. We must bear in mind that I have worked with art for sixty years and the extent of that time and my curiosity have enabled me to produce work in different media, with a variety of resulting works. I don't prioritize or value one medium over any other. But, well, the choice depends on which medium would be suitable for the execution of the work to be constructed. Often, just a few words are enough for me to compose a short poem, which might reverberate or stimulate me to develop another different work.
In recent years, I have started to create audio works by recording myself reciting my own poetic texts and composing audio landscapes with pre-verbal sounds that feature in exhibition spaces. Some of these works are incorporated into sculptures, such as Estado de Exceção (State of Exception) from 2009/2012, and Dois Tempos (Two Beats) from 2010/2012. I even dare to define the audio works and some of my videos from the series Apreensões (Apprehensions) from 2010 as self-portraits or self-documentaries.
IG: Your multi-layered work, which has grown over many years and decades, includes drawings, photographs, videos, performances, texts, installations, sculptures, and so on. For your exhibition here in Basel, we display excerpts of texts and poems in the center, alongside films, photographs, and performance documentation, because I believe they contain everything that is in your work. Your clay sculptures, for example, take the form of a thought, a word, a pause, or a phrase. Is this impression true?
AMM: It's true, to construct my work I have used various media, and I tend to say that my work is developed in continuous spiral movements, now moving outward, now moving inward to the central points of interest that nourish the work, such as aspects of everyday life, nature, matter, earth, the body, sounds, concepts, the transcendental, the infinite, and the part. Works emerge that suggest digestion, defecation, the inside and the outside, and the political, all of which is also manifested by the body. One clear example of my sociopolitical works is the photographic series Fotopoemação (Photopoemation) from the 1970s, and the performance Entrevidas (Between Lives) from 1981. These works present metaphors based on experiences, and underline the possibility of a reality consisting of ideas through the use of a body of senses connected by a variety of techniques. A web of meanings is thus formed, creating multiple alphabets of language.
Anna Maria Maiolino, Na Horizontal (On the Horizontal), 2014. Courtesy of the artist and Galleria Raffaella Cortese, Milan; Sem Título (Untitled), from Vida Afora (A Life Line) – Fotopoemação (Photopoemaction) series, 1981-2012. Courtesy of the artist, Private Collection, Milan and Galleria Raffaella Cortese, Milan. Installation view Kunsthaus Baselland 2021. Photo: Gina Folly
«It concerns me to see the rise of far-right politics spreading around the world. Right now, Brazil is one example of this. However, my art owes a lot to my shared experiences with Brazilian artists. I think that Brazilian modern art is very strong and relevant, and the contemporary art there is extremely vibrant in its experimentation.»
IG: You were born in southern Italy and, after emigrating to Brazil, you returned to Italy much later, in the 1960s, for an exhibition. In the 1960s there was a vibrant artistic moment in Italy: Arte Povera. Artists who were active under this umbrella term included Jannis Kounellis, Marisa and Mario Merz, Giovanni Anselmo, and many more. It was only in Rome that someone like Kounellis, who came from Greece, could find his language of choice (Italian) and develop his first works from there. Was there never an attraction or a desire for you to return to Italy, especially in this creative environment? Your work would certainly have been an important source of inspiration here. Especially in the 1960s and 1970s, when Brazil was suffering under military dictatorship, and freedom of speech and simply being free were both particularly difficult. Why did you prefer to stay there?
AMM: I was born in Calabria in 1942. Unfortunately, I am a daughter of the war and of fascism. I was the youngest of ten children in a big, noisy family, typical of southern Italy. My parents were learned people from other times, who had benefited from a great humanist education and valued knowledge and art highly. My father was born in the late 1800s and my mother in the early 1900s. In 1948 the family moved to Bari, in the Puglie region, so that my elder brothers could go to university. I remember my childhood and the post-war years before emigrating to Caracas, Venezuela, in 1954. The first twelve years of my life in the south of Italy were certainly fundamental to my development as a person and an artist. I would even say that most of my work results from reminiscing about the cultures of those lands, such as the preparation of food, working in the fields, the harvests, the singing and music, the rocky landscape with its caves, the bright blue sky and sea, split by the horizon.
I say that my most primitive reactions and my character are Calabrian, but that I am far from knowledgeable about Italian art. I have lived most of my life far from my country of birth. After emigrating, I did not return to Italy until 2010, when I started to participate in collective exhibitions. I have always stayed there for just a few days at a time and have never had the chance to travel as a tourist, so I still don't know that country. Finally, 2010 was also the year that I had my first exhibition with the gallery I work with, Raffaella Cortese. A few years later I started to work with the Hauser & Wirth gallery, which has its main headquarters in Switzerland. Then, in 2018, I had the privilege of assembling a retrospective exhibition, O amor se faz revolucionário, at PAC in Milan, curated by Diego Sileo. I have since returned numerous times, always for work, and always for just a few days at a time. Without a doubt, it was my art that reconciled me with my motherland, although I feel torn for having been so far away for so long.
The São Paulo Art Biennial is an important institution for the whole of Latin America. It afforded me the opportunity to see all kinds of art from around the world and from Italy. This was how I became familiar with the works of important Italian artists of the 1960s. From 1964 to 1981, Brazil was going through dark times under military dictatorship. Despite the censorship, I—like many artists—was able to work and resist. Today, our means of communication have made all countries neighbors, and the COVID-19 pandemic has currently equalized everyone under the threat of death. It concerns me to see the rise of far-right politics spreading around the world. Right now, Brazil is one example of this.
However, my art owes a lot to my shared experiences with Brazilian artists. I think that Brazilian modern art is very strong and relevant, and the contemporary art there is extremely vibrant in its experimentation. My assimilation into Brazil has been a long process, but I can say that working with art has been a curative process for me in many respects. I arrived in Brazil at the age of eighteen, with the heavy and painful baggage of an immigrant. I cherish my strong ties with this country that welcomed me, where my two children were born, and where I built my home.
Anna Maria Maiolino De: Para: (From: To:), série Fotopoemação (from the series Photopoemaction), 1974–2010, b/w photograph, digital print, 75 × 48 cm; 76.4 × 49.4 × 3.7 cm framed. Courtesy of the artist, private collection, Switzerland, and Galleria Raffaella Cortese, Milan
"As an artist, I have the self-conscience that I need in this crisis to find ways to create works that might interpret my feelings in the face of the serious issues that Brazil and the world must tackle."
IG: You just mentioned the situation in Brazil under the military dictatorship from 1964 to 1981. I can imagine that for someone like you, being an artist, a female artist, an immigrant, a woman, and a mother, the situation was not at all easy. Did you never think of leaving? Or, to ask this question in a different way: What made you stay, besides family reasons? Was there an inspiring context, some fellow artists, or friends that provided this kind of exchange despite the political situation?
AMM: In 1968, my then husband, Rubens Gerchman, was awarded a grant and we decided to move to New York where he could use it. The grant allowed us to leave Brazil during a difficult period of military dictatorship, where the threat of repression and censorship loomed over us. It could be said that we exiled ourselves.
Rubens and I were entirely unknown artists to the art world and the New York art market. There was nothing strange about that: as well as being new arrivals, we were Latin American, which back then meant the same as being nothing. We did not matter at all to American and European art circles. In a text from 1997, I wrote: "I decided to assume all the possible destinies towards which I had been traced, without leaving anything out. Being an artist and a woman has been part of one and the same repertoire since the start." I also felt a duty to address political and social issues. Indeed, the feeling of duty has heavily guided some aspects of my life. I was still very young when I had to take a stance on reality, to strike a balance between my obligations as a woman and a mother and my desire to create art and discover who I was.
Spending almost three years in New York left a permanent mark on me. However, it was hard for me to not be able to participate in the cultural life of the city with two small children and other difficulties exacerbated by everyday life and financial hardship. This situation led to the breakdown of my marriage, and in 1971 I returned to Rio de Janeiro with the children, separated from Rubens. Shortly after, we divorced.
Back in Rio de Janeiro I had to start over from square one. The dictatorship was at its worst point. I felt impotent in the face of that repression and the thought of leaving Brazil with two children became impossible. I urgently needed to find a way of earning a livelihood. Nevertheless, I put my energy into building my oeuvre. Despite the difficulties I had encountered upon returning to Brazil, this was one of the most prolific periods of my artistic career. It was a time of great experimentation, especially with drawing and the so-called new media: Super-8 film and performance.
IG: Your artworks are also instruments of communication for your emotions and feelings, especially regarding the different media with which you construct your art. Do you work with different media at different times, or in parallel at the same time, depending on the topic, or as I previously mentioned, your emotions? Has your artistic approach changed, or perhaps the way you work in general now in times of crisis?
AMM: Ever since I left my country of birth, my heart has become one of a nomad, always ready to set up camp in any hospitable land. This is a good metaphor to explain my craving for freedom and my diverse oeuvre. Indeed, the choice of medium to be used for each work depends on my emotions and feelings. At the moment, in this global humanitarian crisis, it is difficult for my aggrieved and saddened heart to nurture my emotions and cite any preferences. However, as an artist, I have the self-conscience that I need in this crisis to find ways to create works that might interpret my feelings in the face of the serious issues that Brazil and the world must tackle.
Anna Maria Maiolino, Sem título (Untitled), série Vida Afora – Fotopoemação (from Vida Afora – Photopoemaction series), 1981, b/w photograph, analog print, 34 × 46.5 cm; 50.4 × 35 cm framed. Courtesy of the artist, Collection Cattaneo Mantica and Galleria Raffaella Cortese, Milan
«I believe that the agencies of repression failed to understand the subtleties of the metaphors used in these works. I also think the poetic and metaphorical creative process is not written in the military codes and, therefore, visual artists enjoyed a relative degree of freedom, despite the fear.»
IG: Within the whole exhibition layout here in Basel we are showing videos and performances from the 1960s and 1970s as well as more recent works such as Eu sou Eu, which you presented at documenta 13 in Kassel. Reflecting on what you mentioned about Brazil and the dictatorship in the 1970s and 1980s, I was wondering how it was possible to work with performers and realize these performances in public space, as well as to produce them and show them within the country afterward? And as a follow-up question, at that time, it was generally quite early to be working with video and doing performances, too. Was it difficult to acquire all this know-how during this time, to find other performers to participate in them, as well as the possibility of showing them and starting a conversation with them? Most of them are quite strong statements regarding the political situation in Brazil and the role women play within that context.
AMM: Art, like every discipline, is selective and very rarely reaches the entire general public. An artist's work bears multiple readings and there is always ambiguity in how it is perceived by observers, since when regarding an artwork each individual will appreciate it through the lens of their own intellectual, artistic, and political experience. In most cases, this experience does not coincide with the premises of the artist who created the work.
We must bear in mind that, in the 1970s, the arts were renowned around the world for groups of artists who carried out profound renovations of languages through video, photography, and performance. A key role was undoubtedly played by female artists in particular, who also created artworks with political undertones, expressing resistance and challenging the establishment. Visual artists during the military dictatorship in Brazil (1964 to 1981) produced works that used metaphors to avoid direct, explicit political pamphleteering. We found ways to sidestep the censorship, motivated by the drive to resist it. However, these agencies of repression gave surprisingly little importance to certain artworks, such as my installation Arroz & Feijão (Rice and Beans) from 1979, and Entrevidas (Between Lives) from 1981. Both of these works are heavily charged with social and political meaning. Fortunately, I don't think the national security law, the dictatorship's bible, considered artists and their works as dangerous. After all, at that time, access to museums was limited. I believe that the agencies of repression failed to understand the subtleties of the metaphors used in these works. I also think the poetic and metaphorical creative process is not written in the military codes and, therefore, visual artists enjoyed a relative degree of freedom, despite the fear. This was quite different to what happened to actors and composers of popular music who directly and verbally expressed resistance and a rejection of the government in power, and were heavily censured as a result. From the 1980s onward, in the wake of the dictatorship, efforts were made to raise the profile of museums and large numbers of people visited exhibitions. Consequently, even contemporary art productions enjoyed greater exposure to and understanding by the public. However, over the past two years, a growing number of Brazilians, especially intellectuals and artists, are concerned about the increasing dismantling of education, culture, and art by the government.
IG: Many of your videos, photographs, sculptures, and texts reflect this period of trauma, of living in a dictatorship and its latent violence toward human beings and especially women. There is one thought that I have had during these months of the crisis, where I keep asking myself if the pandemic will really change our perception of what we
see. Here in Europe, for example, and especially in Switzerland, most of us have never had the experience of being locked up before, of being forced to stay at home, being isolated, and so on. Perhaps this crisis will now usher in a kind of empathetic experience that helps us to read many things differently from our current perspective, including, perhaps, your performances, texts, and artworks. Do you think this could happen?
AMM: History repeats itself. However, we need to make the right choices in the present that can point us toward a more humane future, away from violence and barbarity. Nature repeats itself in diseases, in natural disasters. It just is, it exists. Humans have not learned how to behave adequately with different natures, both their own and that of their surroundings. We are certainly in times of profound change. The COVID-19 virus is constantly mutating into new variants. The earth has also become a mutant in its geographic and climatic configurations. Only humans remain fossilized in their prevalent conformism and beliefs of profits and progress at any cost. Humans are responsible for the misery spread around the world and the violence committed by humans against other humans. Finally, as artists, we are left to take responsibility for the truth of the creative act as political action. I believe we urgently need to go back to the start and revitalize the overarching forces of sustenance, those immutable values in the natural dimension—water, air, fire, and earth—and retrieve the culture of nature, the naturalization of culture that enables, as Edgar Morim says, the foundation of a universal equilibrium.
Anna Maria Maiolino, Sem Título (Untitled), from Corpo/Paisagem – Fotopoemação (from Body/Landscape – Photopoemaction) series, 2018. Courtesy of the artist and Galleria Raffaella Cortese, Milan; Por um Fio (By a Thread), from Fotopoemação (Photopoemaction) series, 1976-2010. Courtesy of the artist, Video Insight Collection and Galleria Raffaella Cortese, Milan. Installation view Kunsthaus Baselland 2021. Photo: Gina Folly
«The social isolation imposed by the COVID-19 pandemic has without doubt brought to my mind all these questions related to this huge crisis. In an attempt to establish dialogue with the young critic Paulo Miyada, we proposed a quarterly digital publication that we named PRESENTE (PRESENT).»
IG: How is the situation for you now, despite the current crisis—do you have opportunities for exchange with other artists when needed?
AMM: My move to São Paulo, leaving Rio de Janeiro in 2005, had a deep effect on my closest relationships with artists from Rio. When I arrived in São Paulo, I was sixty-three years old, at the peak of my professional career, which led me to do several exhibitions and trips abroad. The time I spend in the city is dedicated to developing my work. I enjoy spending hours in my studios, but then I am away from the social life of the city, which has made it difficult to meet new generations of artists.
Now, with the scourge of increasingly far-right politics in Brazil, and in the face of the violence in the country, where so many young people and women are being murdered every day, it has become imperative to be with others and to establish dialogues. The social isolation imposed by the COVID-19 pandemic has without doubt brought to my mind all these questions related to this huge crisis. In an attempt to establish dialogue with the young critic Paulo Miyada, we proposed a quarterly digital publication that we named PRESENTE (PRESENT).
I consider this online project, which is to be published in Portuguese and English, an important endeavor. It will consist of correspondence, texts in other formats, and productions generated through dialogues between two or more people. The main focus is the field of visual arts in Brazil. This collective project takes on other senses, such as mapping our feelings. PRESENTE will be launched online on April 21, and you will be one of the people invited to access it.
IG: This project is incredibly strong, and while doing this interview, I was able to read the magazine and also discuss with you how to best integrate the publication into the exhibition here in Switzerland. On the other hand, looking at the situation in Brazil right now from a political, public health, and ecological perspective, being separated and at a distance from each other, where people cannot meet and art cannot be perceived, perhaps a magazine, free of charge and accessible to everybody, is best placed to explore language through texts that reflect, in a very direct way, the thoughts and concerns of this exact moment. Do you see these texts — which are conversations, articles, and poems at the same time — as part of your artistic approach, since they are just as political, poetic, artistic, and informative?
AMM: The project PRESENTE was born in late 2020, the first year of the pandemic, with thousands of deaths despite social distancing. This situation further exacerbates the ecological negligence and abandonment of culture and art by our government. This quarterly digital publication came about from my need to escape from enforced isolation, and my desire to be and communicate with others.
At the start of 2021, while replying to a wonderful letter from Paulo Miyada, I realized that letters between friends and artists could represent a strong means of expressing our feelings, forming a kind of art. Thus, together with Paulo, we kick-started this publication in Portuguese and English. It features correspondence, letters, other texts and productions created in dialogue between two or more people in the field of visual arts, primarily in Brazil, but we are also open to submissions from abroad. The word PRESENTE refers to now, the subject matter of the content, but it is also a synonym for a gift and, as such, the digital format of the magazine can be accessed free of charge.
This conversation was conducted between mid-March and mid-May, 2021. Our thanks to Kunsthaus Baselland and it's director and curator Ines Goldbach.
Sergio Soto Maulén • 16.12.2019
ALEJANDRA PRIETO: "ES NECESARIO MÁS QUE NUNCA QUE EL ARTE NO SEA CONDESCENDIENTE"
Actualmente, la artista chilena Alejandra Prieto (1980) exhibe "Estratos" en la Galería Gabriela Mistral, ubicada en plena Alameda, a unos cuantos metros de La Moneda. Junto con esa exhibición recientemente se inauguró la colectiva...
Teobaldo Lagos Preller • 27.01.2020
"EL EPÍLOGO ES EL MOMENTO HERMOSO". MARÍA BERRÍOS SOBRE LA CURADURÍA DE LA BIENAL DE BERLÍN 2020
"De acuerdo a los rumores, la Berlin Biennale ya ha comenzado", reza un eslogan al entrar a la página web de esta bienal, que desde 1998 explora espacios y lugares de la fracturada capital...
Nicolás de Sarmiento • 21.11.2018
¿DEMOCRATIZACIÓN O MERCADO? DIEZ PREGUNTAS A ELODIE FULTON POR LOS DIEZ AÑOS DE Ch.ACO
Para bien o para mal, Ch.ACO es el referente del arte contemporáneo y su mercado en Chile, siendo blanco de críticas y también de felicitaciones. Y lo seguirá siendo en tanto el estándar pueda...


I am a Deacon in the Russian Orthodox Church Abroad, a husband and father of three, an Oblate of St Benedict, a political leftist, and a freelance teacher.
It's been a while since I posted the first installment in this series, so even faithful readers (if I have any!) may have forgotten about this. But this is the second example from the excised three-part illustration of my thesis about the 'liturgical consummation of literary genre' from a forth-coming paper entitled 'Likeness & Approach: M.M. Bakhtin, C.S. Lewis, & the Liturgical Consummation of Literary Genre.' For a little more background and context, see the first post, on St Ephrem the Syrian.
'The standards of the King' bring the worshipper into the realm of nearness by likeness, of which royalty is perhaps the most obvious example, but it must not be forgotten that a royal procession is after all a popular spectacle. More importantly, the equation of the vexilla with the Cross  (made in the Latin in the second line rather than the third) signifies the ultimate way of approach. In the height of irony, 'the Lord of men / As man was hung' (literally, 'the author of flesh as flesh'). The Christian God accepted the most ignoble death that the Greco-Roman world had to offer, and it is by imitating Him and following the way of the Cross that the Christian attains to His own royal dignity. Furthermore, in the paradox of the Arbor decora et fulgida (4.1), the Cross itself, while an object 'of beauty and of light', is still a humble piece of rough-hewn wood. In Waddell's words, '[The Cross of Vexilla Regis] is not as the Latins took it, the symbol and the sign: to Fortunatus, it is still the tree as it grew in the forest, foredoomed to its great and terrible destiny'.  On Waddell's reading of the Cross as Tree, St Venantius's poetic voice teems with the chorus of the Germanic peoples of Northern Europe, represented by Radegunde, who 'was his finest inspiration'.  In this choral perspective, even the lowly trees of the earth are lifted up in being chosen to bear the Lord and to 'shine out' His mystery by becoming a royal standard. Just like the tree that fashioned the Cross, the human being who must bear his or her own cross is not near to God by likeness, but is able to become near to Him by precisely this approach.
 On Dante's use of Vexilla Regis, see John Freccero, Dante: The Poetics of Conversion (Cambridge, MA: Harvard, 1986), pp. 169-70.
 Samuel Willoughby Duffield, The Latin Hymn-Writers & Their Hymns (NY: Funk & Wagnalls, 1889), p. 93.
 Christopher Dawson, Religion & the Rise of Western Culture: Gifford Lectures Delivered in the University of Edinburgh, 1948-1949 (Garden City, NY: Image, 1950), pp. 38-9.
 Carolinne White, Early Christian Latin Poets (London: Routledge, 2000), pp. 45-6.
 Qtd. in Charles Williams, The Descent of the Dove: A Short History of the Holy Spirit in the Church (Vancouver: Regent, 2002), p. 80.
With Ambrose, hymnody took on a new and definitive shape; the short line of four iambs (each consisting of a short and a long syllable) is linked to 'quantitative' metrics, but already attention is being paid to the position of accent in the line, and a process of evolution is under way tending first to make long and accented syllables coincide, and ultimately to yield the complete predominance of the tonic accent as the constructive principle of versification.
 Mikhail Bakhtin, The Dialogic Imagination, ed. Michael Holquist, tr. Caryl Emerson & Michael Holquist (Austin: U of Texas, 1998), p. 4.
 Helen Waddell, The Wandering Scholars (London: Constable, 1958), p. 28.
 Gian Biagio Conte, Latin Literature: A History, tr. Joseph B. Solodow, rev. Down Fowler & Glenn W. Most (Baltimore: Johns Hopkins, 1999), p. 723.
 Duffield, in his rendering of the second line as 'The cross upon them [the banners] cheers the sky' (93), seems to miss the point of these lines. St Venantius is not referring to a symbolic cross emblazoned on the royal banners, but to the True Cross itself, being carried in solemn procession to the church at Poitiers. Thus, the 'royal banners' is an ironic, or alternately, a theological reference to the relic.


Saratoga Academy of the Arts and Sciences is a character-based, independent, recognized leader in instructional excellence, academic achievement and whole-child development.
Welcome to Saratoga Academy, an independent co-educational school serving students Pre-Kindergarten through Eighth grade. As Founder and Head of Schools for the Saratoga Academies I welcome you to a school whose mission is to focus on the individual to nurture each student to become a creative confident problem-solver. This is done by selecting the finest teachers to instruct students in a way to meet each child's unique learning style while maintaining the benchmarks of the Common Core Curriculum used nationally.
No student is denied admission to the Saratoga Academy of the Arts and Sciences because of race, color, religion, ethnic origin, social class or disability. The Saratoga Academy of the Arts and Sciences serves families looking for an education blending traditional with innovative, active learning. The pre-school and kindergarten through eighth grade programs uphold traditional goals of excellence and place strong emphasis on the development of the whole person.
Academically, Saratoga Academy offers hands on, intellectually challenging content and inquiry-based learning in all subject areas. The diversified curriculum communicated in a structured yet non-rigid atmosphere is infused with morality based ideals and life skill development. Instruction is student centered, endeavoring in all areas of learning to develop the potential of each individual student.
Saratoga Academy is a true learning community dedicated to improving the academic achievement of all students and provide a safe, caring climate in which all students in the school community can flourish.
Saratoga Academy believes that all students can reach high levels of academic expectations, and will provide a challenging program, proper levels of support, and timely effective academic intervention. To meet the needs of its students the administration, facility, and staff closely examine and reflect on current practices and programs, implementing new initiatives to address areas of concern and foster a progressive climate, conductive to continued growth and quality improvement.
Interaction and collaboration between our instructional leaders and administrators enhances our academic programs, as we examine new ways to improve student performances. Differentiated instruction, focused on higher level learning skills and the infusion of technology in the delivery of the curriculum, allows students to learn at a pace appropriate to each individual student.


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Arkansas Children's Continues Campaign for a Healthier Tomorrow Announcing New $5 Million Gift to Support Future at Arkansas Children's Northwest
Arkansas Children's leadership announced a new $5 million gift to support Arkansas Children's Northwest (ACNW).
(Springdale, Ark.) September 20, 2019–Arkansas Children's continues its statewide public launch of the Campaign for a Healthier Tomorrow, a bold $250 million campaign designed to support the promise of unprecedented child health for children in Arkansas, defined and delivered.
Arkansas Children's leadership announced a new $5 million gift to support Arkansas Children's Northwest (ACNW). The anonymous Northwest Arkansas donor's $5 million gift supports the current programs and future expansion at ACNW. The principal of the $5 million cash gift will remain intact while the earnings support today's programs. When future capital expansion plans are known, the $5 million gift will unlock and become the first leadership investment in ACNW.
This new $5 million investment in expanded programs at ACNW is the second announcement in a week-long series to publicly launch the Campaign for a Healthier Tomorrow.
Since August of 2019, Arkansas Children's has received commitments of more than $10 million to support care close to home for children in Northwest Arkansas. The Will Golf 4 Kids Tournament and Color of Hope Gala committees pledged a new $5 million investment to expand pediatric cancer treatment and support services at ACNW.
"We are grateful to celebrate this $5 million investment that fuels today's programs and tomorrow's expansion at Arkansas Children's Northwest," said Marcy Doderer, FACHE, president and CEO of Arkansas Children's. "Northwest Arkansas has the fastest growing pediatric population in the state and Arkansas Children's will continue to provide right-sized care for children in the community by investing in the people and the programs at Arkansas Children's Northwest."
Arkansas Children's Foundation board chair, Charlie Whiteside and his wife Cappy are the 2019 chairs for The Campaign for a Healthier Tomorrow.
Arkansas Children's invites you to be a champion for children in our state and make a gift to support statewide initiatives. Your generous support helps deliver on the promise of a healthier tomorrow for the children of Arkansas. Join us and make your gift today at www.archildrens.org/giving or by calling 888-880-7491.
Campaign for a Healthier Tomorrow
By most national measures, Arkansas is one of the least healthy states ranking 40 out of 50 states in child health and well-being. Arkansas Children's envisions a healthier tomorrow for all 710,000 children in Arkansas—for both our patients and the children who will never walk through the doors of Arkansas Children's.
Since 2015, The Campaign for a Healthier Tomorrow has secured more than $200 million in gifts towards a $250 million goal:
In 2015, Arkansas Children's invested in two new 76-D Sikorsky Angel One Helicopters with the capabilities to reach a child anywhere in the state in 55 minutes. Since 1978, the Angel One Transport team has transported the most critically ill and injured patients to Arkansas Children's and established a statewide network of care for children in Arkansas.
Arkansas Children's Dental Outreach programs are providing care to children across the state. Four, full-service mobile dental vans serve children in need of root canals, cavity fillings, extractions and crowns. School-based programs provide oral health education, dental sealants and screenings to more than 8,000 students annually. To date, the mobile dental vans and the dental sealant program have provided $13 million in preventive oral health services for children since 2009.
Arkansas Children's Hospital has the state's only level IV NICU. In 2016, ACH announced the creation of a Nursery Alliance to support hospitals around the state to provide children the care they need close to home. Since the program's inception, the nursery alliance has established partnerships with Conway Regional in Conway, CHI St. Vincent in Hot Springs, Jefferson Regional Medical Center in Pine Bluff, Medical Center of South Arkansas in El Dorado and Ashley County Medical in Crossett.
In 2016, Arkansas Children's established The David M. Clark Center for Safe and Healthy Children, a place dedicated to the care and treatment of neglected and abused children and their families. The Center is a single, safe place for children to receive medical, psychological and social health services and provides support by providing outpatient medical evaluations for children Rice Medical Clinic, Family Treatment Program and Team for Children at Risk.
In 2017, the Arkansas Children's Hospital Southwest Little Rock Clinic opened. Staffed with bilingual physicians and nurses, the clinic provides general pediatric and preventative care to families in the region. Arkansas Children's Hospital clinics in Jonesboro and West Little Rock also provide primary care to children in the state.
In 2018 Arkansas Children's Northwest became one of the nation's newest children's hospitals. Located in Springdale, Arkansas Children's Northwest provides more than 20 subspecialty areas and a general pediatric clinic. In 2015, Arkansas Children's announced the expansion of services in Northwest Arkansas to establish a 336,000 square feet hospital, Arkansas Children's Northwest, located in Springdale. More than 14,000 gifts were made and $81 million in philanthropy supported the building of ACNW.
About Arkansas Children's
Arkansas Children's, Inc. is the only healthcare system in the state solely dedicated to caring for Arkansas' 710,000 children, giving the organization a unique ability to shape the landscape of pediatric care in Arkansas and transform the health of children throughout the region. The private, non-profit organization includes two pediatric hospitals, a pediatric research institute and USDA nutrition center, a philanthropic foundation, a nursery alliance, statewide clinics, and many education and outreach programs.
Arkansas Children's Hospital (ACH) is a 336-bed, Magnet-recognized facility in Little Rock operating the state's only Level I pediatric trauma center; the state's only burn center; the state's only Level IV neonatal intensive care unit; the state's only pediatric intensive care unit; the state's only pediatric surgery program with Level 1 verification from the American College of Surgeons; and the state's only nationally recognized pediatric transport program. Additionally, ACH is nationally ranked by U.S. News & World Report in five pediatric subspecialties (2019-2020): Cardiology & Heart Surgery, Nephrology, Neurology & Neurosurgery, Orthopedics and Pulmonology. Arkansas Children's Northwest (ACNW), the first and only pediatric hospital in the Northwest Arkansas region, opened in Springdale in early 2018. ACNW operates a 24-bed inpatient unit; a surgical unit with five operating rooms; outpatient clinics offering over 20 subspecialties; diagnostic services; imaging capabilities; occupational therapy services; and Northwest Arkansas' only pediatric emergency department, equipped with 30 exam rooms. Generous philanthropic and volunteer engagement has sustained Arkansas Children's since it began as an orphanage in 1912, and today ensures the system can fundamentally transform the health of children in Arkansas and beyond. To learn more, visit archildrens.org.
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redpajama_set_name: RedPajamaCommonCrawl


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LEGO Star Wars: The Freemaker Adventures è una serie animata statunitense del franchise LEGO Star Wars che viene trasmessa negli Stati Uniti d'America su Disney XD dal 20 giugno 2016. In Italia la serie va in onda sempre su Disney XD dal 10 ottobre 2016 ed in chiaro su K2 a partire dal 13 marzo 2017.

Episodi

Personaggi
Protagonisti
 Rowan Freemaker: è un ragazzino che scopre di essere dotato di poteri speciali e desidera diventare uno Jedi. Doppiato in italiano da Mattia Fabiano.
 Roger: è il maldestro ma fedele robot di Rowan e i suoi amici, veterano delle guerre dei cloni. Doppiato in italiano da Raffaele Palmieri.
 Kordi: è la sorella di Rowan e Zander, sempre alla ricerca di un buon affare ma fortemente protettiva della sua famiglia. Doppiata in italiano da Roisin Nicosia.
 Zander: è il fratello maggiore di Rowan, spericolato, imprudente, abile meccanico. Doppiato in italiano da Emanuele Ruzza.
 Naare: misteriosa e abile nelle vie della Forza, si offre di addestrare Rowan. Doppiata in italiano da Sabrina Duranti.
 M-OC: robot incaricato da Palpatine di dare la caccia ai Freemaker.
Altri personaggi: oltre ai nuovi protagonisti, nella serie appaiono personaggi già noti nella saga di Guerre stellari, quali Fener, l'Imperatore Palpatine, Luke, Leila, l'Ammiraglio Ackbar ecc.

Note

Collegamenti esterni

LEGO Star Wars
Serie televisive di Guerre stellari

redpajama_set_name: RedPajamaWikipedia


December 22, 2015 – Ultimate Software (Nasdaq: ULTI), a leading provider of human capital management (HCM) solutions in the cloud, announced today that the company has been ranked #2 on the inaugural list of the 50 Best Workplaces for Camaraderie. The list is a "best of the best" ranking, created by FORTUNE and Great Place to Work, determined entirely by employee feedback.
Ultimate maintains a 93% employee-retention rate, and according to Great Places to Work's Reviews page, 99% of Ultimate employees surveyed indicated that the atmosphere at Ultimate is "great." As part of nurturing a family-like atmosphere, Ultimate hosts companywide barbeques, group outings, and reward trips, as well as on-site exercise classes, friendly basketball games, and diverse communities of interest. The company extends this emphasis on camaraderie into the community by encouraging collaborative volunteerism to give back to those in need. Ultimate provides all full-time employees with two, paid UltiService Days a year, so they may spend time contributing to charities of their choosing—a value estimated at $3 million a year in employee salaries.
Ultimate congratulates our customers who were also named to the 50 Best Workplaces for Camaraderie list, including Acuity Insurance, Baker Donelson, Camden Property Trust, David Weekley Homes, Hyland, Kimley-Horn, Quicken Loans, The Container Store, Transwestern, and Veterans United Home Loans.
Ranking on the 50 Best Workplaces for Camaraderie list is determined by the Great Place to Work Trust Index Employee Survey. Employees answered questions about how frequently they experience the behaviors that create a great workplace. Companies achieving the highest overall results in their size categories were then ranked based on employees' feedback regarding the quality of the personal connections they experience with colleagues, taking into account: how comfortable people feel being themselves at work; how friendly, cooperative, and fun the workplace is; and the strength of the company's teams.
The winners were culled from the nearly 600 companies that Great Place to Work evaluated, reflecting the opinions of more than 255,200 employees surveyed nationwide.
For more information on FORTUNE's list of 50 Best Workplaces for Camaraderie, visit http://fortune.com/best-workplaces-camaraderie.


When it was all over, the running, the practicing, the time with family and teammates, Dixon sat back and cried. The 20-year-old from Houston had accomplished a dream.
This is what can happen in a span of a few weeks. When Dixon arrived in London as a member of the relay pool, she was unsure whether she'd run. She was a collegian on a team with pros, and she only turned 20 around the Olympic trials. But when Dixon, the two-time defending Big 12 champ in the 400 meters, arrived to relays practice in London, the coaches made sure she practiced handoffs with the other runners that would be running in the semis.
"I was like, 'Well, they wouldn't put me on a leg if I wasn't gonna run,' " Dixon said.
When the moment finally came last Friday, Dixon was walking into the Olympic Stadium in London. She can tell you about the lights, and all the cameras going off, but there was also a sound that caught her off guard.
A few moments later, the baton ended up in Dixon's hand with the U.S. in second place after two legs, but she responded by running a 50.15 during her leg, and the U.S. team easily advanced to the finals.
The last few days, Dixon says, have been crazy. She was a gold medalist on Saturday, but the tangible hardware wasn't ready right away. When it finally arrived on Tuesday, KU track coach Stanley Redwine, the man who recruited her to Lawrence, was there to do the honors.
Dixon has two years of eligibility left at KU, and she says she has no plans to turn pro before that. But she does have one goal left: The 2016 Games in Rio — and standing atop the podium after the women's 400-meter final.
Eventually, Dixon says, the medal is going to her great aunt Carolyn McGrew, the woman who took her in and raised her as her own daughter. But for now, she's keeping it in Lawrence, the coolest summer vacation souvenir on campus.
Late Show with Erik Kynard — Erik Kynard's time at the Olympics is over, but his time in the spotlight isn't.
The Kansas State high jumper, who won a silver medal last week in London, will appear on the Late Show with David Letterman on Thursday night as a guest along with longtime news anchor Tom Brokaw and rapper Rick Ross.
When his stint in prime time is finished, Kynard will head to his hometown of Toledo to take part in a parade in his honor on Saturday at his former high school.
From there, it is back to Manhattan for his senior year of college, where his hero's welcome will likely continue. Ever since Kynard, a two-time NCAA champion, won his first Olympic medal with a jump higher than 7 feet, 6 inches, he has received plenty of attention.
His publicity tour started last week when he appeared on the Today Show.


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Metelka maintains winning streak as Yverdon-les-Bain Para-cycling Road World Cup ends
By Michael Pavitt
Slovakia's Jozef Metelka maintained his winning streak in the men's C4 classification of the International Cycling Union (UCI) Para-cycling Road World Cup, by securing his second gold medal on the final day of the three-day event in Yverdon-les-Bains, Switzerland.
American and German Para-cyclists claim three titles on second day of Yverdon-les-Bains World Cup
American and German Para-cyclists enjoyed a successful second day of the 2015 International Cycling Union (UCI) Para-cycling Road World Cup in Yverdon-les-Bains, Switzerland, by earning three golds in the road races.
Aubague among repeated winners at UCI Para-cycling Road World Cup in Yverdon-les-Bains
The second stage of the International Cycling Union (UCI) Para-cycling Road World Cup saw several competitors maintain their good form and claim time trial victories in Yverdon-les-Bains Switzerland.
Hosts Italy top overall medal standings at Para-cycling Road World Cup season opener
By Daniel Etchells
Hosts Italy sealed their place at the top of the overall medal standings by adding five golds to their already impressive tally on the final day of the International Cycling Union (UCI) Para-cycling Road World Cup event in Maniago.
Italy's Calcagni strikes gold again on productive day for Para-cycling Road World Cup hosts
Carlo Calcagni followed up his success in the T2 time trial yesterday by winning the equivalent road race as hosts Italy claimed the biggest medal haul on day two of the International Cycling Union (UCI) Para-cycling Road World Cup event in Maniago.
Paralympic champion to start Tour de Vale cycling race
By Liam Morgan
Seoul 1988 Paralympic Games shot put gold medallist Ernie Guild of Britain will officially start each of the three routes at the upcoming Tour de Vale bike ride, it has been announced.
United States set gold standard on opening day of Para-cycling Road World Cup in Maniago
The United States amassed eight time-trial medals, including three golds, to top the standings on day one of the season-opening International Cycling Union (UCI) Para-cycling Road World Cup event in Maniago, Italy.
Hailstone appointed Paralympics New Zealand cycling performance programme head coach
Jono Hailstone has been appointed as head performance coach for Paralympics New Zealand's (PNZ) Para-cycling performance programme ahead of the Rio 2016, it has been announced.
World champions Turnham and Hall among British squad for UCI Para-cycling World Cup openers
World road race champion Lora Turnham is among Great Britain's 14-strong team for the first two rounds of the 2015 International Cycling Union (UCI) Para-cycling Road World Cup in Maniago, Italy and Yverdon-les-Bains, Switzerland.
British Paralympic champion Pearson switches to cycling for Rio 2016
British Paralympic champion Josie Pearson looks set to become the first female athlete to compete at three consecutive Games in three different sports after making the switch to hand-cycling for Rio 2016.
South African leg added to Para-cycling Road World Cup
An additional Para-cycling Road World Cup round will take place in Pietermaritzburg, South Africa this year, it has been announced.
Britain tops medals table as Para-cycling Track World Championships end in Apeldoorn
Great Britain secured the top spot on the overall medals table after winning two golds on the final day of the Para-cycling Track World Championship, in Apeldoorn, The Netherlands.
De Vries and Bos secure gold for Para-cycling Track World Championship hosts
Stephen de Vries and pilot Patrick Bos secured the hosts third gold medal on the third day of the Para-cycling Track World Championship, in Apeldoorn, The Netherlands.
China earn three more golds at Para-cycling World Championships
China added a further three golds to their medal tally on the second day of the Para-cycling World Championships at Velodrome Omnisport in Apeldoorn.
Britain and China enjoy golden starts to Para-cycling Track World Championships
Britain claimed four gold medals on the opening day of the International Cycling Union (UCI) Para-cycling Track World Championships in the time-trial events at the Velodrome Omnisport in Apeldoorn, The Netherlands.


DALLAS, June 14, 2018 /PRNewswire/ -- Jacobs Engineering Group Inc. (NYSE:JEC), through its local subsidiary in Saudi Arabia, Jacobs ZATE, has been awarded a three-year, general engineering services (GES) contract from Yanbu Aramco Sinopec Refining Company Ltd. (YASREF) to help optimize the production at Yasref's Yanbu Industrial City facilities in Saudi Arabia.
Jacobs will provide a range of services, from basic engineering to Front End Engineering Design (FEED), detailed design, procurement through to construction management, commissioning support and handover for a portfolio of YASREF's capital expenditure projects for the Yanbu refinery.
"This new contract reaffirms our world-class engineering services that will be delivered through our local expert teams, with reach-back to our global subject matter expertise", said Jacobs Energy, Chemicals and Resources Vice President and General Manager EMEA David Zelinski. "We bring access to a full-spectrum technical professional services firm to the west coast of the Kingdom while growing our presence in the country."
The YASREF full conversion refinery is the key facility in Yanbu Industrial City, covering about 5.2 million square meters. YASREF uses 400,000 barrels per day (bpd) of Arabian heavy crude oil to produce premium transportation fuels, as well as high-value refined products. The facility became operational in 2014, contributing to the Kingdom's vision to reliably supply domestic and international markets with high quality, clean refined products and fuels.
Jacobs has been operating in Saudi Arabia for more than 40 years, developing strong partnerships with the Kingdom's industrial leaders including, Saudi Aramco, Saudi Basic Industries Corporation (SABIC) and Saudi Arabian Mining Company (Ma'aden). Examples of the company's work in the region include BP Khazzan Oman Gas Field, Sinnovate Smart Technology Hub, Zuluf Gas/Oil Separation Plant FEED, King Abdulaziz Project for Riyadh Public Transport, Sadara Chemical Company, Prince Mohammed bin Abdulaziz International Airport, Ma'aden Wa'ad Al-Shamal Phosphate Company and numerous infrastructure projects with the Saudi Industrial Property Authority (MODON).
Jacobs leads the global professional services sector delivering solutions for a more connected, sustainable world. With $15 billion in fiscal 2017 revenue when combined with full-year CH2M revenues and a talent force more than 77,000, Jacobs provides a full spectrum of services including scientific, technical, professional and construction- and program-management for business, industrial, commercial, government and infrastructure sectors. For more information, visit www.jacobs.com, and connect with Jacobs on LinkedIn, Twitter, Facebook and Instagram.


The organisers of the International Weingarten Days for New Music have invited Sofia Gubaidulina as "Grande Dame of the International Composers' Scene" to their 25th festival from 22 until 24 October 2010. The composer will be present at all three days and participate in the concerts.
"Sofia Gubaidulina is considered a composer whose oeuvre moves people through its intensity, spirituality and deeply personal manner of expression. In her sacred music, in particular, she has opened up new horizons beyond the everyday experience of time." (...) "She is considered a exceptional composer of New Music, the most important Russian composer of the present day and a pensive person whose spiritual horizon does not end with music," according to the organisers.


Vue.js is an emerging framework for building user interfaces that will help you level up your web development skills. In this workshop you'll learn the most used features of Vue.js, creating from scratch a Single Page Application using components, connecting them to an API. At the end of the course, you will have a more efficient and structured workflow for creating performant websites in one of the newest and fast-growing JS frameworks.
Location: Nearsoft CUU: Calle Segunda #2016, Chihuahua, Mexico.


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Posted inFaith
Progressive COGIC Honors First Couple
Elder Bennie Toliver And Wife Saluted For 16 Years Of Service
by Observer Newsroom December 9, 2021 December 9, 2021
Progressive COGIC's Elder Bennie Toliver and his wife, Ermia Jean Toliver, were honored for 16 years of leadership and service. Courtesy photo
"God's chosen leader" is an appropriate theme to describe a ministry that has endured for 16 years. And while there are other leaders who may have a longer tenure, it is noteworthy that Elder Bennie Toliver, shepherd of Sacramento's Progressive Church of God In Christ, not only has the respect within his own congregation, but he is also a respected leader in the Sacramento community as well. For 1 Timothy 3:1, 7 states that "If a man desire the office of a bishop…he must have a good report of them which are without."
In recognition of his leadership, his congregation celebrated Elder Toliver and their first lady, Mrs. Ermia Jean Toliver, his wife of 62 years, for their service and dedication to the flock placed in their care.
The speaker of the hour was Rich Schuhmeier, Pastor of the Victory Restoration Center here in Sacramento.
The service was filled with tributes, reflections and dedications through song and scripture. The illustrious couple, outfitted in the royal colors of purple and gold, were presented with gifts and praise from friends, family and congregants.
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Consultants: Terese Kenneally ( Psychologist), Meredith Potts ( Speech Therapist), Danni La Ferlita (Occupational Therapist).
The support and well being of our staff is very important. We provide an innovative and stimulating learning environment. Sophisticated organisational and leadership structures are in place that assist in setting clear directions and monitoring improvement toward them. This is illustrated through the school's team structure. The school leadership team takes a strategic perspective, curriculum teams provide teaching and learning detail to strategy, and unit level teams are operational – developing and executing plans to achieve strategy and move the school closer to its ultimate goals of improved student outcomes. Examination of various curriculum and operational plans reveal a strong degree of alignment among them in terms of school purpose. Various key improvement strategies and actions designed to enhance teacher capacity, support students and provide effective leadership are resourced.
The independent School Reviewer, Peter Fotheringham reported that the "Overall effective school performance is a function of the quality of teaching and learning occurring in the classrooms. There is whole-school agreement about good instructional practice, including approaches to literacy and numeracy and there is clear agreement about effective teaching practice which is observable in classrooms".
Various data and anecdotal evidence supported the School Self Evaluation contention that the school's teachers possess high levels of capacity and commitment. The School Self Evaluation reported that the school has "a focus on purposeful teaching as efforts are made to ensure instructional practices are relevant, effective and based on sound research practices". "Recent implementation of a literacy program called 'Write To Read' emphasising phonemic awareness and phonics instruction has added to the meld that forms school wide agreement about instructional practice. Other elements include the use of the Early Years Literacy Program instructional strategies and routines, High Reliability Teaching Strategies, explicit literacy and mathematics teaching, the use of ICT, and assessment for learning practices. A school-wide assessment schedule describes comprehensive and ongoing use of assessment data to monitor learning and inform teaching practice. Teams perform a key role in generating shared responsibility and accountability for teaching practice. Reviewer observation of classes revealed consistent approach to teaching across the school in the literacy block, including within class ability grouping of students".
Teaching is becoming a more public activity at the school; it is modelled, observed and supportively critiqued by others. Examples of this approach include peer coaching, Japanese Lesson Study and classroom modelling sessions. Staff membership of School Improvement Teams in Literacy, Numeracy, ICT, Access and Assessment and Reporting had a clear purpose: to drive the teaching and learning programs.
to engage in effective Professional Development that empowers staff to deliver the curriculum in a way that nurtures and encourages each child to achieve their individual potential.
Significant resources are devoted to professional learning designed to further build teacher capacity, with teacher learning occurring through various activities and organisational structures.


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On Thursday, the coaches, players and fans all received a much-needed day off. We could all get a good night's sleep knowing a game wasn't lost. It was the perfect time to take a deep breath after getting swept by the Orioles, who just happen to have THE WORST RECORD IN BASEBALL. Sorry for yelling. But seriously, how does that happen?!?
"Good pitching beats good hitting" is something that was said by someone who hasn't watched the Mets of late.
DeGrom and Syndergaard, along with a rejuvenated Matz, should give the Mets an edge in just about any series they appear in. But then there's that pesky part about having to score runs. That's just something the Mets aren't very good right now.
We've seen plenty of good pitching, especially from deGrom. It hasn't made much of a difference. Silencing those baby-faced boys from the northern borough is no easy task. For the Mets to find any success this weekend the offense is going to have to wake up, and in a big way.
Look, we all know there's a lot of negativity following the Mets around right now, while guys wearing pinstripes are looking more and more like a dynasty in the making. None of that really matters once the first pitch is thrown Friday night. Beating that team from across the East River wouldn't make up for what's already happened this season, but it would be a big step in the right direction.
Win, lose, sweep or be swept - I'm not going to sit here and say this series will alter the season. Even a sweep would only be temporary happiness (something I will GLADLY take right about now). There's a lot of work that needs to be done in order for the Mets to get back on track. A tough weekend will only further set them back, while a positive one can at the very least change the narrative surrounding this team, for now.
It's time to hold down the fort and show some pride this weekend, Mets.


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Facebook's Acquisition of Whatsapp
Facebook CEO Mark Zuckerberg got on stage in Barcelona on Monday at the World Mobile Conference show and discussed why he paid so much for WhatsApp, the messaging app that Facebook just bought $19 billion.
The app fits into his master plan to bring the Internet to the two-thirds of the people in the world that don't have it.
He explained that WhatsApp already has almost half a billion users, its users "love it" for messaging and it is one of the "most engaging" apps, with 70% of its users using it every day.
But here's the key reason he spent so much:
"We see WhatsApp on a path to connecting more than 1 billion people. There are very few services that can reach that many and they are all incredibly valuable."
Facebook is one of those companies. It currently has about 1.23 billion users and Zuckerberg says it has a goal to connect another billion people by 2020. Between WhatsApp and Internet.org (his plan to connect the whole world to the mobile Internet), he says, "I hope we can do a lot better than that."
Zuckerberg acknowledges that this is a long term plan and that he doesn't expect WhatsApp to really start making money in the next five years:
"I think by itself WhatsApp is worth more than $19 billion. ... I could be wrong. Maybe this is the one service that gets to a billion users and isn't very valuable.
... It's hard to make the case today, because there's so little revenue compared to that number [$19 billion].
By being part of Facebook, they can focus purely on connecting more people, [instead of] focusing on building its business model. They had already started with their subscription model.
[Now] WhatsApp can focus on connecting 1, 2, 3 billion people.
Facebook still plans to make back the investment. He points to other messaging services, like KakaoTalk and says that these apps are "already monetizing at a level of $1-$3 per user."
But he's clearly feeling no pressure to hurry up and make good on the $19 billion spent on WhatsApp anytime soon.


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brown 2 or 3 seat bench swng garden seat pad home floor is usually built from wicker foundation or rattan. And also a cushion is going to be put on the cover of the benches. But now, you are able to satisfy some contemporary versions with the benches afterall. Light alloys, woods, and also even plastics will be the based material for your own porch swing bench cushions. The new invention on its own material offers lower price label and much more modern appearance. But, individuals still prefer to get the standard ones that use rattan because its main material. The standard of the benches generally is based on the craftsmanship. You also need to give a careful attention and care so the wicker is not coming off easily.
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text:
23. At Sandwich, Mr. J. L. C. Jenkins, of Troon, beat Mr. C. O. Hezlet, of Portrush, in the final round of the Amateur Golf Championship by three holes up and two to play. (Mr. Travers and Mr. Ouimet were beaten at an early stage in the contest.)
A lightship built in Scotland for service on the Sambro Ledges, Nova Scotia, was lost with all hands (fifteen in number) in fog off Lipscomb Harbour, Nova Scotia.
Heavy storm on the North Sea and Baltic, with some loss of life.
Arrival at Port Jackson of submarines from Great Britain after a voyage of 12,500 miles under their own steam.
25. Empire Day was celebrated by a review in Hyde Park of upwards of 6,000 boys belonging to naval brigades, scout patrols and cadet corps, with 1,500 members of the National Reserve. The Lord Mayor of London was present, with many representatives of the Dominions.
In the King's Bench Division, after three days' trial, the libel case of Kemp v. Yexley resulted in a verdict for the plaintiff ; damages, 3,0001. The suit was brought by the captain of H.M.S. London against the editor of a paper for naval men, for libel in criticisms reflecting on his action as captain of the ship.
At the Central Criminal Court Charles Edwin Fenner, a stockbroker, pleaded guilty to fraudulent conversion of securities entrusted to him and was sentenced to four years' penal servitude. Sixteen of the counts of the indictment had reference to his dealings with Lord Murray of Elibank.
26. Announcement that Prince Oscar of Prussia, fifth son of the German Emperor, was betrothed to Countess Ida Bassewitz. (The marriage took place on August 1.)
27. At the Central Criminal Court, before Mr. Justice Darling, Colonel Whitaker, sometime commanding the Yorkshire Light Infantry, and Archibald Minto, one of the employees of Liptons, Limited, were convicted of conspiring that money should be given to Colonel Whitaker to induce him to favour the company in certain catering contracts, and six other employees of Liptons and eight military officers were charged with kindred offences under the Prevention of Corruption Act in connexion with contracts for the supply of Army canteens. Colonel Whitaker was sentenced to six months' imprisonment; the other civilian defendants, save one, were fined from 501. to 500l. ; the remaining civilian and the military defendants were bound over to come up for judgment when called on. The trials, collectively known as the "Canteens Case," had occupied nine days in all.
An appeal by Colonel Whitaker was unsuccessful (July 2), but his sentence was eventually reduced to two months. (See post, July 1.)
At Epsom, the Derby resulted as follows: Mr. H. B. Duryea's Durbar II., 1; Sir E. Cassel's Hapsburg, 2; Mr. H. J. King's Peter the Hermit, 3. Won by three lengths ; time, 2 min. 383 sec. The winner (who started at 20 to 1 against) was owned by an American, and trained in France. Sir J. Thursby's Kennymore, the favourite after the scratching of Tetrarch (see ante, May 13), was eleventh.
Announcement that a balloon discovered in a forest in Siberia was believed to be that in which the missing explorer Andrée had left for the North Pole in 1897.
29. The Canadian Pacific steamer Empre88 of Ireland, from Quebec to Liverpool, was run down in fog off Father Point by the Norwegian collier Storstad at 1.52 A.m., and sunk in 17 min. ; of the 1,467 persons aboard 1,023 were lost, among them Sir H. Seton-Karr and Mr. and Mrs. Laurence Irving, the well-known actors. (See post, July 11.)
At Epsom, the Oaks resulted as follows: Mr. J. B. Joel's Princess Dorrie, 1; the Earl of Carnarvon's Wassilissa, 2; Sir J. Thursby's Torchlight, 3; time, 2 min. 38° sec.
30. At the Wharncliffe Silkstone colliery, Barnsley, eleven men were killed and two injured by an explosion.
1. Wargrave Church, Henley, was burnt down by militants; no arrests.
At Somerleyton, near Lowestoft, four out of a party of five Boy Scouts, with their instructor and their scoutmaster, Mr. T. W. Lory, a local solicitor, were drowned by the capsizing of a small sailboat.
The Co-operative Congress opened at Dublin. The delegates numbered over 1,300, representing over 3,000,000 members. The volume of their trade for 1913 exceeded 130,000,0001., and the profits 14,260,0001. The employees numbered 145,774, and the wages bill exceeded 8,490,0001.
2. At Oneglia, Italy, Signora Oggioni, wife of an Italian officer, was acquitted of the murder of her husband's orderly. The prosecution alleged an intrigue with him ; she claimed to have shot him in defence of her honour.
At Weymouth Mrs. Joseph Chamberlain (née Endicott), accompanied by Mr. Austen Chamberlain, M.P., unveiled a memorial to Richard Clerk and John Endicott, who sailed from the harbour to assist in founding the colony of Massachusetts, of which Endicott became governor.
Mr. B. W. Leader, the artist, received the freedom of Worcester. 3. The King's Birthday. A number of elementary school children sent letters of greeting in their own words. A selection was published.
4. Suffragist appeal to the King at his Court by Miss Mary Blomfield, granddaughter of a former Bishop of London.
In Southampton Water, Lieut. T. S. Cresswell, R. M.L.I., and Commander A. Rice, R. N., were drowned through the fall of their aeroplane.
5. At Florence, Vicenzo Peruggia, who stole "La Joconde" from the Louvre, was convicted and sentenced to one year and fifteen days' imprisonment with payment of costs. (See Chron., 1913, Dec. 12.)
Volcanic eruptions in the Sangir Islands, Dutch East Indies; much damage to villages and plantations.
5-6. Great storm off the northern coast of New Brunswick ; about fifty fishermen drowned.
6. The "Aerial Derby," round London, was won by W. L. Brock; distance, 944 miles ; time, 1 hr. 18 min. 54 sec. Only four competitors completed the course, owing to fog.
6. Failure of Chaplin, Milne, Grenfell & Co., Limited, a London banking and financial house ; liabilities estimated at 1,965,7611. gross.
7. At Buckingham Palace, a man who had succeeded in entering was arrested as a burglar; the crime was apparently the result of a drunken freak.
At Sezanne (Marne) a balloon just about to ascend exploded; the pilot and a child were killed, and 106 persons injured.
9. At Cambridge, the new physiological laboratories, given to the University by the Drapers' Company, were opened by Prince Arthur of Connaught.
10. At Oxford in commemoration of the seventh centenary of the death of Roger Bacon, a statue of him was unveiled in the University Museum by Sir A. Geikie, O.M. The centenary was celebrated by a banquet at Merton College on June 25.
Peace Centenary Costume Ball at the Albert Hall in honour of the 100th anniversary of peace between Great Britain and the United States.
11. Bomb outrage by militant suffragists in Edward the Confessor's Chapel in Westminster Abbey ; the Coronation Chair and Stone were slightly injured.
Salvation Army Congress ; reception of international delegates in the Albert Hall. A cordial message of greeting was sent by the King. The Congress sat in a temporary hall between the Strand and Aldwych, June 12-20.
13. The Prince of Wales laid the foundation stone of St. Anselm's Church, Kennington, on the Duchy of Cornwall Estate-his first public function..
Inspection of 10,000 Boy Scouts on the Horse Guards' Parade by Queen Alexandra, accompanied by the Empress Marie of Russia.
The American liner New York and the Hamburg-American steamer Pretoria were in collision 400 miles east of Sandy Hook at 3.20 A.M. ; the New York was badly damaged ; no lives lost.
The German army airship 21 was wrecked in bad weather at Diedenhofen ; no lives lost.
At Meadowbrook, Long Island, England beat the United States in the first Test Polo Match by eight and a half points to three.
14. A heavy storm passed over South London about 1 P.m. Three children were killed by lightning on Wandsworth Common, and two adults and a child in the neighbourhood, while sheltering under trees. In the suburbs roads were flooded, and birds were killed by large hailstones. In less than two hours 1.23 in. of rain fell in Wandsworth, and by 5.30 1.88 in.
15. Heavy storms in Paris from 3 to 7.30 P.M. The sewers burst, and there were subsidences owing to the flooding of unfinished workings of the Metropolitan Railway, notably in the Boulevard Haussman, Avenue d'Antin, and Place St. Philippe du Roule. A taxicab containing a lady was engulfed. About twenty-five lives were lost. The rainfall was 59 millimetres or about 2; in.
16. At Oxford, a statute for the reform of Responsions was rejected in Congregation by 110 to 73.
16. In the second International Polo Test Match at Meadowbrook, Long Island, England beat the United States by four goals to two and three. quarters.
Severe storms in South Germany. 17. At Reading, an express train from Worcester collided with an excursion train from Bristol at a point where two lines converged; the driver of the express was killed; the two firemen and a lady were injured.
The German Emperor opened the Hohenzollern Canal from Berlin to the Oder, thus connecting the capital by water with Stettin.
18. At Carrbridge, on the Highland Railway, a culvert, blocked by a sudden cloudburst which had carried away a stone bridge above it, collapsed under an express train; seven persons killed, eight or nine injured.
At Glasgow, Kingston Dock was burnt, the creosoted piles igniting while being bored with a red-hot iron ; four schooners destroyed; damage, 250,0001.
The Ascot Gold Cup race resulted as follows: Mr. Fairie's Aleppo, 5 years, 9 st. 4 lb., 1; Mr. J. Ryan's Willibrook, 3 years, 7 st. 7 lb., 2; Mr. T. Martin's Junior, 5 years, 9 st. 4 lb., 3. Won by three-quarters of a length; time, 4 min. 254 sec.
19. Announcement that the Government had refused to give up Somerset House for the University of London.
At Hillcrest Mines, near Crow's Nest Pass, Alberta, upwards of 190 miners were killed by an explosion.
– On the Nice-Coni line, in construction, the Mont-Grazzien tunnel collapsed ; about thirty men were buried, of whom several were killed and injured.
Severe storms in London ; also in Southern Essex, where lightning killed two persons.
At Prestwick, the open Golf Championship was won by H. Vardon with 306 ; J. H. Taylor was second with 309.
20. At Fischamend, near Vienna, the Körting dirigible was run into at a great height a biplane; all on both vessels, numbering nine, were killed.
Announcement that a thunderstorm and earthquake had devastated the islands north of Papua ; great loss of life.
The air race from London to Manchester and back was won by W. L. Brock, an American ; distance, 322 miles ; time, 4 hrs. 42 min. 26 sec.
20-21. Rioting at Andover, Hants, due to public sympathy with two women imprisoned for assault.
At Eisleben, Saxony, the centenary was celebrated of Friedrich König, the first to use steam power in printing.
22. King's Birthday Honours. An Earldom was conferred on Viscount Kitchener of Khartoum, who continued to use his existing title: Baronies of the United Kingdom on Sir H. Cozens-Hardy, Master of the Rolls; Sir Edgar Vincent, Chairman of the Dominions Royal Commission ; MajorGeneral J. F. Brocklehurst, C.V.O.; and Sir Leonard Lyell, Bart., sometime 25. Midnight ball at the Savoy Hotel, London, in aid of the National Institute for the Blind.
Liberal M.P. for Orkney and Shetland : Privy Councillorships on Lord St. Davids, the Prime Minister of Australia (Hon. Joseph Cook); Mr. H. J. Tennant, Parliamentary Under-Secretary for War; Mr. Ellis J. Griffith, Assistant Home Secretary; and Mr. W. J. Starkie, Chairman of the Irish Board of Intermediate Education. The eight new Baronets included the Lord Mayor of London, Sir T. Bowater ; Sir Joseph Beecham, the operatic impresario ; and Sir J. W. Benn, L.C.C. Among the twenty-six new Knights were Dr. J. G. Frazer, the eminent anthropologist; Dr. W. H. St. John Hope, a noted archæologist ; Dr. S. J. Sharkey, a prominent surgeon ; and Dr. Henschel, a conspicuous singer and musician. Earl Beauchamp received the Order of the Garter, and Lord Kinnaird that of the Thistle.
On the occasion of the King's Birthday, the following Colonelcies were conferred on Royal ladies : 18th (Queen Mary's Own) Hussars, on the Queen ; 19th (Queen Alexandra's Own Royal) Hussars and Alexandra Princess of Wales's Own (Yorkshire Regt.), on Queen Alexandraı; 7th (Princess Royal's) Dragoon Guards, on the Princess Royal ; Argyll and Sutherland Highlanders, on Princess Louise.
22. German manufacturers visiting England entertained at Guildhall ; Herr Dernburg, sometime German Colonial Minister, was among the speakers.
At Oxford, the Rev. Charles F. Burney, D.Litt., Fellow of St. John's, was appointed Oriel Professor of the Interpretation of Holy Scripture, vice the Rev. Canon Cooke, appointed Professor of Hebrew. 23. Postal strike in Paris.
The Red Star liner Gothland, Montreal to Rotterdam, with eighty-four passengers, ran on the Gunner Rocks near Wolf Rock lighthouse; no lives lost.
24. Encænia at Oxford University. Honorary degrees were conferred on the Duke of Saxe-Coburg, Viscount Bryce, Prof. Ludwig Mitteis of Leipzig, and Dr. Richard Strauss, the eminent composer,
Alexandra Day. Throughout London and the suburbs artificial roses were sold by ladies in aid of charities patronised by Queen Alexandra. The sum available for distribution among them was 22,0001., or 6,0001. more than in 1913.
Sexcentenary celebration of the foundation of Exeter College, Oxford.
26. The King, with the Queen, opened the King George Dock at Hull, and announced that the Mayor of that town would in future bear the title of Lord Mayor.
Great fire at Salem, Mass. ; 10,000 persons homeless; estimated damage to property $10,000,000.
Earthquake in Sumatra, followed on June 28 by a cloudburst; many natives killed.
- At Christie's, at the sale of the Grenfell collection, a portrait of a man with a red cap, attributed to Titian, realised 13,000 guineas; a landscape


text:
Gallucci Gears Up For 'Great' Night
Jamieson, McIntosh On Super Finals
Ontario Sires Stakes Season Begins
Hes Watching Colts Sharp In Grassroots
Faves Upset In Gold Divisions
Published: July 3, 2021 12:46 am ET
Woodbine Mohawk Park hosted the first two-year-old Gold Series event of the 2021 season on Friday evening and the freshman pacing fillies turned in a pair of impressive performances.
Speak Your Mind was the first two-year-old to don an Ontario Sires Stakes blanket this season with a commanding front-end effort in the first $100,600 Gold division. The daughter of Artspeak-Lu Lu Q seized control just after the :28.4 opening quarter and proceeded to lead the field of seven through a :58.2 half and 1:27.1 three-quarters on her way to a 1:55.3 victory. Speaker Nancy, another daughter of first crop sire Artspeak, was three-quarters of a length back in second and Marykeeponburnin was one and one-half lengths behind in third. Fan favourite Stonebridge Thalia was fourth.
"She had a bit of an attitude when we started out but as time went on, boy she picked it right up and moved from, like I group them in ability when I am training them down and she was in about the third set initially and she moved up to the second set and then moved right up to the top set the last three weeks she trained and was not out of place at all," said trainer Dr. Ian Moore. "She's a nice made filly and looks good and she's very racy, she warmed up right on the bit tonight."
Cambridge resident Moore trains Speak Your Mind and his son Tyler Moore of Guelph, ON drives the filly for Frank Cannon of Sanford, FL. Cannon, who bred and co-owned Lu Lu Q through her racing career, offered up $6,000 for Speak Your Mind at last fall's Lexington Selected Yearling Sale.
"Frank's very happy. His phone has been blowing up he said, everybody wanting to know about a $6,000 filly," said Moore. "We're all pleased."
Speak Your Mind's stablemate I Love Ongait clocked the majority of the fractions in the second $100,600 Gold division before being collared in the stretch by Prohibition Legal. In rein to James MacDonald of Guelph, Prohibition Legal stalked the pacesetter from the outer lane before accelerating down the stretch to a one length win in 1:54. I Love Ongait settled for second and Better Double Flip closed well to be third.
"I'm just really, really proud of the filly. She was one of those horses that never did anything wrong all the way training down and it's really nice to see her bring it to the racetrack and do it in her first race," said trainer Nick Gallucci. "I wasn't too keen when I saw the half in :57 and the 3-5 favourite on top and mine coming first-over from fifth, but good horses can overcome that kind of stuff and I'm just really proud that she was able to do that."
Bred and owned by Millar Farms of Stouffville, ON, Prohibition Legal is a daughter of Big Jim-Catch A Wish. The eleventh foal from $260,829 winner Catch A Wish, Prohibition Legal is a full sister to $313,770 winner Fan Court and has five other half-siblings who earned more than $100,000 in their racing careers.
"She's built more like her Mach Three brother Foot Soldier," said Stouffville resident Gallucci, who trained both Fancourt and Foot Soldier for Millar Farms. "Obviously she's got the stride and everything going for her that way, and obviously the desire. I wasn't really expecting to see her get another gear first-over, but like I said, training down she never did anything wrong and she was always digging. We never asked her for everything she had until tonight.
"I think that if we can get her through her two and three-year-old years she could be the best horse I've ever trained. I've never had a horse that can come off a helmet like that. She can change her gear so fast and it's kind of surreal that she can do it so early in her career."
Prohibition Legal and Speak Your Mind will look to burnish their Gold Series resumes when the two-year-old pacing fillies meet up for Leg 2 on July 13 at Georgian Downs.
On Saturday, July 3 the two and three-year-old pacing colts will square off in their first Gold Series Leg at Woodbine Mohawk Park.
(OSS)
To view results for Friday's card of harness racing, click the following link: Friday Results – Woodbine Mohawk Park.


text:
Shawn Drover (5 mei 1966) is een Canadese drummer. Hij is het meest bekend geworden om zijn drumwerk voor de Amerikaanse metalband Megadeth, waarvan hij tussen 2004 en 2014 lid was.

Op 25 november 2014 verklaarde Shawn Drover dat hij Megadeth had verlaten. Enkele uren later volgde collega-gitarist Chris Broderick. Samen richtten deze twee ex-leden van Megadeth de band Act of Defiance op, met een nieuwe zanger en bassist.

Repertoire
Eidolon

 Zero Hour (1996)
 Seven Spirits (1997)
 Nightmare World (2000)
 Hallowed Apparation (2001)
 Coma Nation (2002)
 Apostles of Defiance (2003)
 The Parallel Otherworld (2006)

Megadeth

 That One Night: Live in Buenos Aires (2007)
 United Abominations (2007)
 Endgame (2009)
 Rust in Peace Live (2010)
 Thirteen (2011)
 Super Collider (2013)
 Countdown to Extinction: Live (2013)

Act of Defiance

 Birth and the Burial (2015)
 Old Scars, New Wounds (2017)

Canadees drummer


text:
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text:
Q: UI API called on a background thread error I have a function that gets the context for storing to Core Data. I have it for a few view controllers, however I am getting an error.
private class func getContext() -> NSManagedObjectContext {
    let appDelegate = UIApplication.shared.delegate as! AppDelegate
    return appDelegate.weatherPersistentContainer.viewContext
}

However I get an error about accessing UI API being called from a background thread.

A: As you see from the error, you can't call UIApplication.shared from a background thread. Since you don't want to have to wrap every call to our getContext method in DispatchQueue.main.async, you can update your getContext method to do the necessary wrapping as needed:
private class func getContext() -> NSManagedObjectContext {
    let appDelegate: AppDelegate
    if Thread.current.isMainThread {
        appDelegate = UIApplication.shared.delegate as! AppDelegate
    } else {
        appDelegate = DispatchQueue.main.sync {
            return UIApplication.shared.delegate as! AppDelegate
        }
    }
    return appDelegate.weatherPersistentContainer.viewContext
}

This code ensures that UIApplication.shared is only called on the main queue, even if getContext is called from a background thread. The nice part is that the result is returned on the original thread.

redpajama_set_name: RedPajamaStackExchange


text:
My Own Private Rockaway
Quito Ziegler waits for the sun to set over New York, and then heads south—as far as the land will go. Only then does Quito find solitude.
Story by Conor McBride · Audio by Emily Kwong · 8.7.14
Story by Conor McBride
Audio by Emily Kwong
More than eight million people, eight-and-a-half billion square feet. Suffice to say, New Yorkers have a love-hate relationship with space, all the more reason for us to occasionally get away from it all. But finding sanctuary in the city is not as hard as you might think. In "My Secret New York Sanctuary," a new series by Narratively and WNYC, we get up close and personal with New Yorkers who use a little ingenuity to find solitude in some rather unlikely places.
Senses seem enhanced when standing on a beach at night. The sounds of the sea are crisper, the air is saltier and the sand crunchier, perhaps because darkness steals your sight. Waves unfurl with a crash, foam hisses as distant ships move silently on the horizon. It feels like the world's end as you stare into the blackness. "It's invigorating to be unhurried, unwatched on nature's timetable," explains Quito Ziegler, a 37-year-old Brooklynite who escapes to the city's farthest edges in search of respite from the chaos of daily life. Not just any beach will do, though; it needs to be a completely empty one, and forbidden beaches are best.
Identifying as transgender (Quito prefers the non-gender-specific pronoun 'they' as opposed to 'he' or 'she'), Quito is a working artist who is immersed in the queer and trans-art scene in New York. Originally a photographer, Quito branched into curating and organizing community, public and activist art, and today is at the center of this unconventional, fringe society.
"When you go to the beach at night it's magic," Quito adds. "You're the only one there. You stand at the edge of the ocean and watch it go back and forth. You can squint your eyes and see the horizon. You can run around the water's edge and pretend that you're flying like a gull. You have the entire world to yourself somehow."
An empty beach can be a necessary escape for those in the transgender community. "For a lot of gender-non-conforming and trans people, being in the streets can be a very trying and draining experience," says Quito. Just last year, Islan Nettles, a transgender woman, died after a savage beating in Harlem. The attacker had shouted homophobic slurs. The beach, therefore is a vital refuge. "That sense of freedom and relaxation is difficult to find within the confines of the city," Quito says. "It's outside the purview of the law. We make our own rules and set our own community standards."
The supervising producers on this story were WNYC's Karen Frillman and Narratively's Emon Hassan and Noah Rosenberg.
Find more Secret Sanctuaries on WNYC's website.
More from My Secret New York Sanctuary
The Abandoned Garden of Prospect Park
All Quiet on the Seventh Floor
Desperately Seeking Rooftop View