text:
Home California Campo
Campo, CA Florists
Find Florists in Campo
Mi Casa Flowers & Gifts
31474 California 94, Campo, CA 91906
Deko Floral Arts
San Diego , CA 92122
Sanger Flowers
Sanger , CA 93657
De La Cruz Decorations & Flowers
El Cajon , CA 92020
A Bed Of Roses
3218 South Sherbourne Drive
Campo Flower Shop News
Falling for Flowers - Argonaut Online
The Unlikely Florist is sweeping Venice off its feet with rustic bouquets and a van named UnthoBy Christina CampodonicoPassersby find it difficult to resist Falls' striking floral arrangements sold from a vintage VW VanagonPhotos by Fanny ChuIt's hard not to fall for The Unlikely Florist's beautiful bouquets. Spilling from a 1980 VW Vanagon, the rustic arrangements of blushing protea, ruddy South African pincushions and mustard-yellow billy balls attract people like spring blossoms charm honey bees. Small children run to the modified camper van parked outside the beachy Great White café on Pacific Avenue as if it were hawking ice cream; parents wrangle them to get a family picture. Aspiring social media influencers flock to the flora, burying camera-ready faces into bouquets that make for inspired accent pieces in requisite photos of the Venice Sign instantly shared to "the Gram."Maybe the world has gone super bloom crazy. Perhaps people are just dizzy with the joy of springtime. More likely, it's the magnetic vision of the man behind the flower van — 29-year-old Venice transplant Spencer Fa... https://argonautnews.com/falling-for-flowers/
Richard Rico: A bouquet for the Rose - TheReporter.Com
It doesn't make us kissing cousins, but we may be paisani. Pelosi's mother Annunciata D'Alesandro was born in the region's largest town of Campobasso (pop. 50,000.) My family of Costanzo Rico came from the village of Roccamandolfi (pop. 640). They're just 15 miles apart. A mile from Rocca is La Borgata's village, Cantalupo, (pop. 764.) Actually, it's as close as our Main Street, where Marianna Schiavone and mama Michelina Iuliano create deli del Molise.Maybe someday we can bend Pelosi's ear when she stops by for a plate of gnocchi.Two, and she'll reopen the government.The author is former publisher of The Reporter. https://www.thereporter.com/2019/01/13/richard-rico-a-bouquet-for-the-rose/
Benos Flowers and Gifts wants to bring fun, happiness - The Gazette
Long Para:0 Long Pra Total: 11 Total Para Total: 25-- IOWA CITY — A new Iowa City business aims to spread happiness.Long Para:1 Long Pra Total: 11 Total Para Total: 25-- Benito Ocampo Campos opened Beno's Flowers and Gifts on Nov. 15 in downtown Iowa City, realizing a longtime goal to own his own flower shop. Long Para:2 Long Pra Total: 11 Total Para Total: 25-- "Flowers bring happiness, with their smell and their colors, when people receive them," Ocampo said. "Everyone loves flowers."Long Para:2 Long Pra Total: 11 Total Para Total: 25-- Ocampo, who grew up in Mexico, opened his first business in that country at the age of 19.Long Para:3 Long Pra Total: 11 Total Para Total: 25-- "It was a small gift shop — only about 300 square feet," he recalled. "I did decorations with balloons for parties and a few weddings with flowers but not much. I had no experience."Long Para:4 Long Pra Total: 11 Total Para Total: 25-- A year or two later, Ocampo moved to Chicago, where his parents had lived for many years and where his older siblings had been born.Long Para:5 Long Pra Total: 11 Total Para Total: 25-- "I didn ... https://www.thegazette.com/subject/news/business/iowa-city-benos-flowers-floral-shop-florist-flower-20190121
Best Florist McAdams Floral - Victoria Advocate
Designers704 N. Virginia St., Port LavacaKarl's Flower & Gift Shop219 Irvine St., YoakumEula's Plants & More2487 S Commercial St., GoliadFlowers Etc. & Gifts Etc.1513 N. Mechanic St., El CampoSHARE...
Finding Balance With Florist - Stereogum
I ended a pretty serious relationship that I was in. It felt like life just started unraveling in a very specific way. I knew that I always really wanted to live in California from touring there, and I knew I had a good handful of friends out there, and it just felt like the right time. Like I needed to go somewhere drastically different to discover new parts of myself. STEREOGUM: A lot of the album is about surrounding yourself in a different environment from what you're used to. How did changing what's around you help you to figure things out? SPRAGUE: I think location is a huge part of what input you're getting into your brain. I think it was less about physically being in a different place and more what the different place represented. When I moved to California, my lifestyle changed a lot. I started surfing, and that became a huge part of my life. I started doing a lot more ambient music, being with different friends within that group … Really, being out in the sun more — it changes a lot. But I was also incredibly depressed for the first six months to a year that I lived there. Writing the album was the thing that finally was the culmination of all those feelings, the thing that finally released it all. I lost my mom, who was my best friend, and I lost this relationship that was a huge source of stability that I leaned on a lot. When those two things were gone, it felt like the structures that I had in my life for the last five years all just came crumbling down. I found myself in this completely new place where I just felt like the only way to survive was to find the power within myself. There's a saying, in I guess psychology, about having a sense of self and that being the source of how you can build healthy relationships. "You're the only one who will never leave you." That was one of the core ideas of all of these songs. I wanted to explore this sense of loneliness, and really find out what's strong about that and what's beautiful about that and create that same stability that I had from these external relationships within myself.Obviously, the lead-up to those feelings and realizations is incredibly hard. The album is definitely meant to be listened to within this void of the self, or within a void of the mind. It's like if you were to go into somebody's brain and really just be the only thing in there — it's about that sense of self. STEREOGUM: Is that why you decided to record the whole album by yourself? SPRAGUE: I was writing all of these songs about this specific journey that I was on, and I had been living in LA for a year and my experience there was alone in a lot of ways. Basically, what was going to happen was we were going to record in January in Los Angeles, but, logistically, it just wasn't going to work out. Everybody wasn't going to be able to do it, it was the wrong time for everyone. I was sort of in this intense flow state of writing, and all of the things that I was writing felt very isolated from the rest of the band. They're produced the way that they are because I wanted them to be very obviously just Emily — this is just the songwriter of this project recording these things and it's really about the songs and the lyrics and the feeling of listening to the album and getting very sucked into the same vacuum, a sort of isolated feeling.It became the concept of the album — that it was part of the timeline of Florist, because the way it exists is because of the band, and because that's a part of the whole narrative: We couldn't be together because of life. I moved to LA because of everything that was happening in my life. Recording it alone was a hard decision because I didn't want it to come off as it seeming like Florist is only m... https://www.stereogum.com/2048286/florist-emily-alone-interview/franchises/interview/
Stylist Dani Michelle Wore Four Dresses to Her Wedding at Casa del Mar - Vogue
European feel at Hotel Casa del Mar in Santa Monica," Dani says.The search for a wedding dress was even more extensive. "I tried on dresses in designer houses from California, New York, London, Paris, and Israel," Dani admits. "I had sketches done by designers and created my own. I had a clear image of how I wanted to feel, and it was when I saw these one-of-a-kind hand-draped macrame puff sleeves from Vera Wang, with Old World–style lace, that I knew I had found my dress. But it didn't exactly exist yet, so I worked with the amazing team in New York and Los Angeles to recut the sleeves and incorporate them into one of their crepe mermaid gowns that we then customized." They used the same kind of lace to create an extended cathedral veil and did fittings in L.A., New York, and then back in L.A. again to make sure everything felt perfect. "But it didn't end there, because in the process I fell in love with another amazing dress by Galia Lahav, who also worked to customize a look with me," Dani explains. "It had this incredible diamond bow from my collarbone to the floor, and I wanted to wear it for the party. With a high slit up my whole leg, built off a tight, gathered hourglass corset, it was the perfect party dress!"A third dress entered the picture when Dani did a Sex and the City–inspired wedding dress try-on session for @vogueweddings's Instagram Story. "I tried on the most unique, asymmetrical Viktor & Rolf gown, and Ian fell in love with it," she says. "I asked the team if I could hold on to it to wear it at my wedding—and it subsequently became my third dress. It was the classic dream of a large, full tulle ballgown. It was uniquely graphic and fashion."For those who are having trouble keeping up, a recap: the bride wore Vera Wang for her wedding ceremony, a Viktor & Rolf ballgown for her first dance, and the Galia Lahav look for her party. "But it didn't totally end there," the fashion fanatic admits. "I designed a final dress with my tailor that I wore for the after-party. Yes, I wore four wedding dresses that night!"To keep the spotlight on this epic array of fashion, jewelry was kept minimal. The bride wore vintage diamond drop earrings from her late grandmother and her new... https://www.vogue.com/article/dani-michelle-kourtney-kardashian-stylist-ian-morrison-wedding-vera-wang-dress
A Perfumer's Fragrant Flower Salad - The New York Times
I find when I make edible-flower food that it has this crazy energy to it," he says. "I know that's woo-woo, but we're in California, so it's fine."Image"Most flowers have a mild vegetal flavor," Woods says. "Sometimes they're a little spicy, like arugula."CreditJulia StotzEzra's Flower SaladFor the salad1 head of butter lettuce or red lettuce Any edible flowers (such as pea tendrils, hibiscus petals, rosemary flowers, nasturtium or calendula)Pink and/or black pepper to tasteZest of 1 citrus fruit (such as Meyer lemon, yuzu or bergamot)For the dressing3 tablespoons infused olive oil or grapeseed oil (such as lemon or pumpkin)p clas... https://www.nytimes.com/2019/06/05/t-magazine/ezra-woods-flower-salad.html
What One Actor's Career Tells Us About Asian Representation in Hollywood - The New York Times
Good morning.(Want to get California Today delivered to your inbox? Here's the sign-up.)Growing up, he seemed to be everywhere.Glowering as a stern Japanese military aide in "Pearl Harbor," yelling at Carrie Bradshaw to pay for flowers as a Korean vendor on a New York City street, whispering menacing commands as a Chinese mob boss in "Home Alone 3."And each time my mom saw him, she would say the same thing: "Hey, there's Jimmy!"She went to grade school with that actor, James Saito, in South Los Angeles. Both are Japanese-American and they ran in overlapping social circles.Over the years, my mom has kept an eye out for her classmate, as if she's playing some decades-long game of "Where's East Asian Waldo?"That, more than any think piece or spirited Twitter thread, has crystallized for me what it means when people talk about Asian invisibility: Mr. Saito's presence in such a diverse range of movies and TV shows underscored the scarcity of other Asian men on screen.Recently, I spotted Mr. Saito myself. He was stea... https://www.nytimes.com/2019/07/02/us/james-saito-asian-representation-hollywood.html


text:
Stern Pinball's Transformers Pin home game hands-on (video)
Sure, CES isn't all fun and games, but, well, sometimes it's exactly that. Like when Stern Pinball CEO Gary Stern pays a visit to our CES stage and brings along his company's latest, the Transformers Pin. This isn't just any old pinball machine -- it's a home unit, aimed at the large portion of the pinball-buying audience looking to bring silver ball to their humble abodes, available though outlets like Amazon with a price tag well under those of the company's pro units.
It's also noticeably smaller than those machines -- in fact, if you give it a bit of the old body English during play, you can actually scoot the machine a bit. The back glass is also not quite as grand as those on its professional siblings, but it's still got a working display for scrolls and the requisite text crawl. The playfield, meanwhile, is pretty close to the real deal. Stern's clearly expert in making flippers, bumpers and the like, and many of those components went into the making of this machine.
Gallery: Nokia Asha 200, 201, 300, 303 at Nokia World | 31 Photos
The most discernible distinction during gameplay is the plunger, which just doesn't quite have the snap of the machines we grew up with. It's unfortunate, but it's a small complaint in the long run for a game that ultimately retains much of the fun of its full-sized brethren. At the end of the day, the machine's asking price is still quite the investment. But if you've been eyeing a new machine, shaving a few thousand off the price of a pro unit might just be enough to push you over the edge.
In this article: ces, ces 2013, Ces2013, pinball, stern, stern pinball, SternPinball, transformers

redpajama_set_name: RedPajamaCommonCrawl


Welcome to Station Bar, conveniently located at the top of the main street in the heart of the Blue Mountains. Our stylish, intimate and multi purpose venue offers amazing woodfired pizzas both classic and contemporary.
Complete your details below and your enquiry will be emailed directly to Station Bar. Please check your contact details are correct to ensure the quickest possible reply.


text:
shchac_eng_logo_two_lines
SUPPORT ART CENTRE AND ARTISTS
Modern exhibition space
OLEKSANDR ROITBURD's exhibition EXERCISES IN BEING LOOSE
Oleksandr Roitburd's personal exhibition is on view at Shcherbenko Art Centre. It includes two new series of his works: paintings of sculptures and female half-figures. The series are quite different at the first glance but they have one key feature in common: Roytburd flirts with the academic canon in his unconventional personal style.
As the artist himself comments, he "retells" famous sculptures entering into a dialogue with the classics and classicist aesthetics. This narration is loose and "more expressive than usual." But this time it is the depicted sculptures that allow him to be so liberated, their conditional recognizability gives rise to a playful interpretation. Thus, the ancient textbook classics (Cupid and Psyche, Venus Callipyge, Discobolus), masterpieces of the Renaissance masters (Brutus by the Italian sculptor Michelangelo and The Resurrection of Christ by the French mannerist G. Pilon), and examples of classicism (Venus by I. Vitali) acquire softness, playfulness, randomness as if they are reflected in a defective mirror.
"It was an exercise of extracting polychrome from monochrome," the artist comments. In his paintings, Roitburd puts museum figures in the darkness. In the light of a candle they acquire subtle, sensual shades, and then also humanity and closeness to the viewer. The canon turns into someone painfully familiar with a frightened look or excess weight on the thighs… Finally, visitors of the exhibition will meet an old acquaintance who is the artist himself in a self-portrait. Including his own portrait in each series is the tradition of the artist.
Roitburd started creating the series of female half-figures a long time ago, but the most recent works are presented in the summer of 2021. Again, referring to the academic program, the artist creates vivid and playful portraits that are erotic and ironic at the same time. Depicted (as if from a selfie) women hold objects that make you think who she is and what she is thinking about. Easy but balanced game with heritage, flirtation, and honor, eternal history, and covid modernity – Roitburd continues his casual exercises.
Oleksandr Roitburd
He was born in 1961 in Odesa. In 1983 he graduated from the Faculty of Graphic Arts in Odessa Pedagogical Institute. Member of the National Union of Artists of Ukraine since 1989. Director of the Odessa Fine Arts Museum. The artist's works are in MoMA (New York), The State Tretyakov Gallery (Moscow), The State Russian Museum (St. Petersburg), Pinchuk Art Center (Kyiv), Odesa Fine Arts Museum (Odesa) and the National Art Museum of Ukraine (Kyiv). Lives and works in Kyiv and Odesa.
Founded by gallery owner and curator Marina Shcherbenko. The task of the center is to create opportunities for dialogue between representatives of the art world and a wide audience. The center is engaged in exhibition activities, as well as a platform for lectures, round tables and workshops with leading masters of contemporary art in Ukraine and other countries.
You can visit the exhibition from June 16 to July 24, 2021.
Mykhailivska Street, 22V, Kyiv
shcherbenkoartcentre.com
info@shcherbenkoartcentre.com
fb.com/shchac
instagram.com/shchac
Opening hours: Tue – Sat 11:00 – 20:00
Free entrance!
I accept the terms of use of personal data


Give it up for the fierce female villain, Captain Phasma. This silver satin bomber jacket calls back to the sleek designs of Captain Phasma's armor. It's got chest embroidery that reads Captain. The back has her helmet over the First Order emblem. Both sleeves features black detailing and the cuffs and collar are black and red like the Captain's cape.


The Geneva Centre for Human Rights Advancement and Global Dialogue (The Geneva Centre) has announced that it has signed a Memorandum of Understanding (MoU) with EU Business School. The agreement was signed today by Mr. Idriss Jazairy, the Geneva Centre's Executive Director and Ambassador, and Mr. Luc Craen, Vice-President and Managing Director of EU Business School, on the premises of the Geneva Centre.
With the signing of the agreement, both organizations pledge to work closely together to promote human rights in the Arab region through the development and execution of advanced educational programs. The commitment includes the organization of joint panel discussions at the United Nations Office in Geneva, the development and execution of joint training programs and the launch of research projects that are of mutual interest to both parties.
Regarding this new partnership, Mr. Idriss Jazairy stated: "The Geneva Centre's partnership with EU Business School marks a new beginning in the Centre's relations with leading educational institutes worldwide. We are currently also in the process of signing a similar MoU with the world-renowned Oxford Centre for Islamic Studies of Oxford University.
The partnership marks a step forward in the development of both of these leading institutions, whose belief in dialogue and research aims to advance human rights in the Arab region and value-driven North-South cooperation and understanding on human rights issues.
EU Business School (EU) is an international, professionally-accredited, multi-campus business school established in 1973. In addition to small classes offered in English by its expert faculty, EU students enjoy an international environment. EU is ranked among the top business schools in Europe and has the honor of being recognized by the Academy of Business in Society (ABIS) for its consistent dedication to corporate social responsibility. Students may also benefit from state-recognized degrees from the University of Derby and the University of Roehampton in the U.K., and the Universidad Católica de Murcia in Spain.


text:
Image Report
TOMOGRAPHY, June 2018, Volume 4, Issue 2:43-45
Complex Vascular Ring Diagnosed on Cardiovascular MR in a 3-Day-Old Infant
Jeremy R. Burt1, Michael Valente2, Ali Agha3, Kimberly Beavers1, Joseph Limback1, Michael Fiorino1, Rebecca Vicenti1, Fiona Tissavirasingham1, Khurram Butt4, Andrew R. Crofton5
1Department of Radiology, Florida Hospital Orlando, Orlando, FL;2Herbert Wertheim College of Medicine, Florida International University, Miami, FL;3Department of Internal Medicine, University of Texas, Houston, TX;4Department of Internal Medicine, Florida Hospital Orlando, Orlando, FL; and5Department of Physical Therapy, Adventist University of Health Sciences, Orlando, FL
Prenatal ultrasonography in the early third trimester showed an unusual branching pattern of the right aortic arch. Echocardiography performed 4 h after birth showed the right aortic arch with mirror-image branching, patent ductus arteriosus, and patent foramen ovale. Because the location of the ductus arteriosus was unclear on echocardiography, cardiovascular magnetic resonance imaging was performed 3 days after birth. Advanced techniques including contrast-enhanced time-resolved magnetic resonance angiography and 3D time-of-flight magnetic resonance angiography allowed accurate diagnosis of a vascular ring comprising ascending and descending aorta, right aortic arch with mirror-image branching, and diverticulum of Kommerell giving rise to a left ligamentum arteriosum. The infant had hiccups, but no other symptoms. The esophagram was negative for obstruction. The infant was closely monitored; however, she developed esophageal obstruction at 7 months of age because of the vascular ring. She underwent lysis of the left ligamentum arteriosum followed by aortopexy for relief of esophageal obstruction. This report shows the utility of neonatal cardiovascular magnetic resonance imaging to evaluate complex congenital aortic arch anomalies.
A female neonate was delivered vaginally in the 37th week of pregnancy with no labor complications at our institution; her APGAR scores were 8 at 1 minute and 9 at 5 minutes. The neonate weighed 2,320 g and was deemed small for her gestational age. The mother has a history of Hodgkin lymphoma, which was diagnosed and treated with chemotherapy in 1997. In addition, the mother has a history of chronic hypertension for which she takes labetalol; she suffered 4 miscarriages; and she was anemic on admission for delivery. The pregnancy was complicated by intrauterine growth restriction and the presence of a two-vessel (single umbilical artery) cord. Following delivery, the neonate was mildly hypoglycemic, but the blood sugar levels normalized within 4 hours of delivery.
A vascular ring and ventricular hypertrophy were suspected on screening prenatal ultrasonography. Accordingly, renal ultrasonography and echocardiography were performed. The renal ultrasonography showed an ectopic left kidney in the lower abdomen. The initial echocardiogram performed within 4 hours of birth showed several cardiovascular abnormalities. Color Doppler showed a patent foramen ovale with bidirectional shunting. There was also tricuspid regurgitation and mild enlargement of the right ventricle with heavy trabeculation of the wall.
The echocardiogram also showed a right aortic arch with mirror-image branching, a left brachiocephalic artery, a right common carotid artery, and right subclavian artery branches, from left to right. A patent ductus arteriosus was present, with bidirectional, but mostly left-to-right, shunting shown on color Doppler. There were no other abnormalities in size, appearance, or presence of vasculature. Subsequent echocardiography performed 1 and 2 days after birth confirmed the presence of these anomalies, although the ductus arteriosus was not seen on either of the follow-up echocardiograms. Possible outpouching of the right ventricular free wall was additionally noted, although ventricular aneurysm versus absent pericardium was not definitively concluded from the echocardiograms (Figure 1).
2D conventional transthoracic echocardiogram showing focal outpouching (arrow) of the right ventricle at the acute angle of the heart.
A cardiovascular MRI using gadolinium contrast and computerized hemodynamic analysis was performed 3 days after birth using a 1.5 Tesla Siemens Aera scanner (Muenchen, Germany). The infant was swaddled, and no sedation was necessary. Cine balanced steady-state free precession sequences (trueFISP) in standard cardiac projections were acquired, along with double-inversion recovery sequence and phase-contrast imaging. Contrast-enhanced, time-resolved (TWIST) and 3D time-of-flight magnetic resonance angiography techniques were also acquired in the coronal projection. The MRI confirmed the presence of a patent foramen ovale with a bidirectional flow. The right atrial appendage was enlarged and extended along the free wall of the right ventricle. Cardiac MRI also showed increased trabeculations of the right ventricle and identified an outpouching of the right ventricle inlet at the angle of the heart, measuring 10.9 × 9.5 mm, compatible with a diverticulum. Biventricular cavity size and systolic function were normal.
Cardiac MRI also confirmed the presence of a right aortic arch with mirror-image branching (Figure 2, A–B). A diverticulum of Kommerell was present at the aortic isthmus measuring 7.1 × 4.4 mm, extending posterior to the esophagus (Figure 2C). A left-sided ligamentum arteriosum was also present, with interval spontaneous closure of the ductus arteriosus, completing the vascular ring (Figure 3, A–B). There was abutment but no obstruction of the adjacent esophagus and trachea by the vascular ring.
Dynamic contrast-enhanced magnetic resonance angiogram in a coronal projection showing contrast within the heart and the right aortic arch (A). Volume rendering shows a right aortic arch with mirror-image branching including a left brachiocephalic (LB) artery in an anterior view (B). Volume rendering shows a right aortic arch with a diverticulum of Kommerell (arrow) at the aortic isthmus in a posterior view (C).
Dynamic contrast-enhanced magnetic resonance angiogram in an oblique projection shows the mirror-image branching pattern of the right aortic arch with a left brachiocephalic (LB) artery, left common carotid (LCC), and left subclavian (LSC) branches (A). 3D time-of-flight magnetic resonance angiogram in a coronal projection shows a diverticulum of Kommerell (arrow) at the aortic isthmus with a left ligamentum arteriosum (dashed arrow) posterior to the esophagus (B).
Esophagram performed during the first week of life showed ring displacement and mild narrowing of the esophagus but no significant impingement upon the trachea. At 7 months of age, the child developed dysphagia to thick liquids. She was taken to the operating room and posterolateral thoracotomy was performed. The vascular ring was identified and the left ligamentum arteriosum was seen tracking across the esophagus. The right arch was dissected and the ligamentum arteriosum was ligated and divided doubly. Aortopexy was also performed, relieving the esophageal obstruction. She was discharged a week later and remains well.
This neonate has a right aortic arch, mirror-image branching, a diverticulum of Kommerell, and a left-sided ligamentum arteriosum creating a complete vascular ring. The presence of a right aortic arch occurs in ∼0.1% of the population and is due to improper regression of the embryonic aortic arches in the developing fetus (1–3). A right aortic arch forms following the failure of the right fourth embryonic aortic arch to regress along with abnormal regression of the left fourth aortic arch (2). The branching pattern of a right aortic arch is variable. An aberrant left subclavian artery pattern is most common, coursing posterior to the esophagus and is frequently associated with a diverticulum of Kommerell (4). Mirror-image branching can rarely occur, with the right aortic arch giving off, from left to right, a left brachiocephalic artery (giving rise to the left common carotid and left subclavian artery), the right common carotid, and the right subclavian before continuing as the descending aorta (1).
The diverticulum in our patient at the aortic isthmus has been well described as the diverticulum of Kommerell, but it is only rarely seen with a mirror-image branching pattern (5). The patient also had an unusual ductus/ligamentum arteriosum originating from the diverticulum. The presence of a left ductus/ligamentum arteriosum between the aorta and the left pulmonary artery created a complete vascular ring structure comprising the ascending aorta anteriorly, the arch of aorta laterally, the descending aorta posteriorly, and the ductus/ligamentum arteriosum medially, which is capable of constricting the trachea and esophagus (6). Similar to our patient, in 74% of patients, the vascular rings cause symptoms including stridor and dysphagia, caused by the constriction of the trachea and esophagus, respectively (3). In these symptomatic patients, surgical division of the ductus or ligamentum can be performed to alleviate pressure on the trachea and esophagus (7).
This report shows the utility of neonatal cardiovascular MR imaging. Our patient initially underwent echocardiography with limited visualization of the aortic arch anatomy and left ligamentum arteriosum. The complex anatomy of the arch was clearly depicted on CMR despite the fact the infant was 3 days old and had no sedation. Cardiovascular MRI on neonates is performed ∼2 times/month at our institution, and all of our neonatal studies for this indication are performed without sedation. This is possible until ∼3–6 months of age. The entire procedure takes ∼1 hour. As opposed to cardiac computed tomography (CT), cardiac MRI does not require any heart rate restriction to evaluate the cardiovascular structures. CMR also has the added advantage of defining the relationship of the vascular ring with the adjacent esophagus and trachea. Because of the high heart rates in neonates, CT of the aortic root is limited, premedication may be required, and evaluation of concomitant coronary or cardiac abnormalities may be limited. CT also poses the issue of ionizing radiation, and some centers do not have appropriate CT scanners to perform low-dose cardiac CTs on neonates. Furthermore, some locations lack radiologists or cardiologists with the expertise to read neonatal cardiac CTs. In contrast, limitations of cardiac MRI include increased cost, longer scan times, and higher levels of specialized training required to interpret the study. Additional investigation in a larger population is needed to determine the benefit of neonatal CMR in complex congenital arch abnormalities. Considering the widespread availability of CMR, this is certainly feasible.
Conflict of Interest: The authors have no conflict of interest to declare.
Hastreiter AR, D'Cruz IA, Cantez T, Namin EP, Licata R. Right-sided aorta. I. Occurrence of right aortic arch in various types of congenital heart disease. II. Right aortic arch, right descending aorta, and associated anomalies. Br Heart J. 1966;28:722–739.
Edwards JE. Anomalies of the derivatives of the aortic arch system. Med Clin North Am. 1948;32:925–49.
Bakker DA, Berger RM, Witsenburg M, Bogers AJ. Vascular rings: a rare cause of common respiratory symptoms. Acta Paediatr. 1999;88:947–952.
Beekman RP, Beek FJ, Hazekamp MG, Meijboom EJ. The value of MRI in diagnosing vascular abnormalities causing stridor. Eur J Pediatr. 1997;156:516–520.
Cinà CS, Althani H, Pasenau J, Abouzahr L. Kommerell's diverticulum and right-sided aortic arch: a cohort study and review of the literature. J Vasc Surg. 2004;39:131–139.
Kussman BD, Geva T, McGowan FX. Cardiovascular causes of airway compression. Paediatr Anaesth. 2004;14:60–74.
Woods RK, Sharp RJ, Holcomb GW, 3rd, Snyder CL, Lofland GK, Ashcraft KW, Holder TM. Vascular anomalies and tracheoesophageal compression: a single institution's 25-year experience. Ann Thorac Surg. 2001;72:434–438, discussion 8–9.
Abbreviated Title: Tomog.
Self URI: media/vol4/issue2/pdf/tomo-04-043.pdf
Publication date (print): June 2018
Publisher ID: TOMO-2018-00015
Download the article PDF (507.87 KB)
Download the full issue PDF (6.11 MB)


text:
Q: How to fill previous record and on conditional based? I have the following data in a table i.e. No, Date and Step
+---------+----------------------------+----------------------------+
|   No    |                       Date |            Step            |
+---------+----------------------------+----------------------------+
| 643995G | 03/12/2012 3:22:48 PM      | TransferInStart            |
| 643995G | 03/12/2012 3:22:50 PM      |                            |
| 643995G | 15/02/2013 10:53:57 AM     | Hold                       |
| 643995G | 15/02/2013 10:54:00 AM     | Hold Copy Processing Start |
| 643995G | 20/02/2013 4:38:26 PM      |                            |
| 643995G | 21/02/2013 3:27:01 PM      | ExceptionStart             |
| 643995G | 22/02/2013 9:38:32 AM      | ExceptionEnd               |
| 643995G | 22/02/2013 9:39:32 AM      |                            |
| 643995G | 22/02/2013 10:04:53 AM     |                            |
| 643995G | 22/02/2013 10:04:56 AM     |                            |
| 643995G | 25/02/2013 10:48:18 AM     | TransferIn                 |
| 643995G | 25/02/2013 10:48:19 AM     | CatalougingStart           |
| 643995G | 27/02/2013 1:59:44 PM      |                            |
| 643995G | 27/02/2013 1:59:45 PM      |                            |
| 643995G | 27/02/2013 2:05:01 PM      | Catalouging                |
| 643995G | 27/02/2013 2:05:02 PM      | ProcessingStart            |
| 643995G | 27/02/2013 6:09:51 PM      |                            |
| 643995G | 27/02/2013 6:09:52 PM      |                            |
| 643995G | 04/03/2013 2:03:16 PM      |                            |
| 643995G | 04/03/2013 2:03:17 PM      | Hold Copy Processing Start |
| 643995G | 11/03/2013 2:27:14 PM      |                            |
| 643995G | 12/03/2013 10:09:55 AM     | ExceptionStart             |
| 643995G | 12/03/2013 10:10:27 AM     | ExceptionEnd               |
| 643995G | 12/03/2013 10:10:52 AM     |                            |
| 643995G | 12/03/2013 10:11:27 AM     |                            |
| 643995G | 12/03/2013 10:28:37 AM     |                            |
| 643995G | 12/03/2013 10:46:21 AM     | Processing                 |
+---------+----------------------------+----------------------------+

*

*Would like to fill in the empty records with the previous step.

*After filling the above value where ever I found the Exception Start and Exception End would like to fill with the above value.
Please refer blow step2 and Step3 as examples output.
+---------+------------------------+----------------------------+----------------------------+----------------------------+
|   No    |          Date          |        ProcessStep         |           Step2            |           Step3            |
+---------+------------------------+----------------------------+----------------------------+----------------------------+
| 643995G | 03/12/2012 3:22:48 PM  | TransferInStart            | TransferInStart            | TransferInStart            |
| 643995G | 03/12/2012 3:22:50 PM  |                            | TransferInStart            | TransferInStart            |
| 643995G | 15/02/2013 10:53:57 AM | Hold                       | Hold                       | Hold                       |
| 643995G | 15/02/2013 10:54:00 AM | Hold Copy Processing Start | Hold Copy Processing Start | Hold Copy Processing Start |
| 643995G | 20/02/2013 4:38:26 PM  |                            | Hold Copy Processing Start | Hold Copy Processing Start |
| 643995G | 21/02/2013 3:27:01 PM  | ExceptionStart             | ExceptionStart             | Hold Copy Processing Start |
| 643995G | 22/02/2013 9:38:32 AM  | ExceptionEnd               | ExceptionEnd               | Hold Copy Processing Start |
| 643995G | 22/02/2013 9:39:32 AM  |                            | ExceptionEnd               | Hold Copy Processing Start |
| 643995G | 22/02/2013 10:04:53 AM |                            | ExceptionEnd               | Hold Copy Processing Start |
| 643995G | 22/02/2013 10:04:56 AM |                            | ExceptionEnd               | Hold Copy Processing Start |
| 643995G | 25/02/2013 10:48:18 AM | TransferIn                 | TransferIn                 | TransferIn                 |
| 643995G | 25/02/2013 10:48:19 AM | CatalougingStart           | CatalougingStart           | CatalougingStart           |
| 643995G | 27/02/2013 1:59:44 PM  |                            | CatalougingStart           | CatalougingStart           |
| 643995G | 27/02/2013 1:59:45 PM  |                            | CatalougingStart           | CatalougingStart           |
| 643995G | 27/02/2013 2:05:01 PM  | Catalouging                | Catalouging                | Catalouging                |
| 643995G | 27/02/2013 2:05:02 PM  | ProcessingStart            | ProcessingStart            | ProcessingStart            |
| 643995G | 27/02/2013 6:09:51 PM  |                            | ProcessingStart            | ProcessingStart            |
| 643995G | 27/02/2013 6:09:52 PM  |                            | ProcessingStart            | ProcessingStart            |
| 643995G | 04/03/2013 2:03:16 PM  |                            | ProcessingStart            | ProcessingStart            |
| 643995G | 04/03/2013 2:03:17 PM  | Hold Copy Processing Start | Hold Copy Processing Start | Hold Copy Processing Start |
| 643995G | 11/03/2013 2:27:14 PM  |                            | Hold Copy Processing Start | Hold Copy Processing Start |
| 643995G | 12/03/2013 10:09:55 AM | ExceptionStart             | ExceptionStart             | Hold Copy Processing Start |
| 643995G | 12/03/2013 10:10:27 AM | ExceptionEnd               | ExceptionEnd               | Hold Copy Processing Start |
| 643995G | 12/03/2013 10:10:52 AM |                            | ExceptionEnd               | Hold Copy Processing Start |
| 643995G | 12/03/2013 10:11:27 AM |                            | ExceptionEnd               | Hold Copy Processing Start |
| 643995G | 12/03/2013 10:28:37 AM |                            | ExceptionEnd               | Hold Copy Processing Start |
| 643995G | 12/03/2013 10:46:21 AM | Processing                 | Processing                 | Processing                 |
+---------+------------------------+----------------------------+----------------------------+----------------------------+

Attaching the image of the input table to be clear

Attaching the image of the Output values to be clear

A: With APPLY you can do these "Lookups". Can't validate if all syntax is correct but should point you to a possible solution.
with myTable as (
    select
        [No],
        CONVERT(DATETIME,[Date],131)[Date],
        [Step]
    from (
    values
    ('643995G','03/12/2012 3:22:48 PM','TransferInStart'),
    ('643995G','03/12/2012 3:22:50 PM',NULL),
    ('643995G','15/02/2013 10:53:57 AM','Hold'),
    ('643995G','15/02/2013 10:54:00 AM','Hold Copy Processing Start'),
    ('643995G','20/02/2013 4:38:26 PM',NULL),
    ('643995G','21/02/2013 3:27:01 PM','ExceptionStart'),
    ('643995G','22/02/2013 9:38:32 AM','ExceptionEnd'),
    ('643995G','22/02/2013 9:39:32 AM',NULL),
    ('643995G','22/02/2013 10:04:53 AM',NULL),
    ('643995G','22/02/2013 10:04:56 AM',NULL),
    ('643995G','25/02/2013 10:48:18 AM','TransferIn'),
    ('643995G','25/02/2013 10:48:19 AM','CatalougingStart'),
    ('643995G','27/02/2013 1:59:44 PM',NULL),
    ('643995G','27/02/2013 1:59:45 PM',NULL),
    ('643995G','27/02/2013 2:05:01 PM','Catalouging'),
    ('643995G','27/02/2013 2:05:02 PM','ProcessingStart'),
    ('643995G','27/02/2013 6:09:51 PM',NULL),
    ('643995G','27/02/2013 6:09:52 PM',NULL),
    ('643995G','04/03/2013 2:03:16 PM',NULL),
    ('643995G','04/03/2013 2:03:17 PM','Hold Copy Processing Start'),
    ('643995G','11/03/2013 2:27:14 PM',NULL),
    ('643995G','12/03/2013 10:09:55 AM','ExceptionStart'),
    ('643995G','12/03/2013 10:10:27 AM','ExceptionEnd'),
    ('643995G','12/03/2013 10:10:52 AM',NULL),
    ('643995G','12/03/2013 10:11:27 AM',NULL),
    ('643995G','12/03/2013 10:28:37 AM',NULL),
    ('643995G','12/03/2013 10:46:21 AM','Processing')
    ) t ([No],[Date],[Step])
)
select
    [No],
    [Date],
    mT.[Step] [ProcessStep],
    CASE WHEN mT.[Step] is null then e.[Step] else mT.[Step] end [Step2],
    case when mT.[Step] in ('ExceptionStart','ExceptionEnd') OR e.Step in ('ExceptionStart','ExceptionEnd') then iHateStartAndEnd.Step else COALESCE(mt.[Step],e.[Step]) end [Step3]
from myTable mT
outer apply (
    select top 1
        eValue.[Step]
    from myTable eValue
    where
        mT.[No] = eValue.[No] and
        mt.[Date] > eValue.[Date] and
        isnull(eValue.[Step],'') <> ''
    order by
        eValue.[Date] desc
) e
outer apply (
    select top 1
        eValue2.[Step]
    from myTable eValue2
    where
        mT.[No] = eValue2.[No] and
        mT.[Date] >= eValue2.[Date] and
        eValue2.[Step] not in ('ExceptionStart','ExceptionEnd') and
        eValue2.[Step] is not null
    order by
        eValue2.[Date] desc
) iHateStartAndEnd

redpajama_set_name: RedPajamaStackExchange


I'm not sure if this is a problem with Deferred, fx, or specific to dijit/Dialog.
at Error (unknown source) at new ErrorCtor? (http://localhost:88/ii/dojo/errors/create.js:13:21) at dojo.Deferred.promise.cancel.cancel (http://localhost:88/ii/dojo/_base/Deferred.js:309:15) at declare.hide (http://localhost:88/ii/dijit/Dialog.js:414:26) at broken (http://localhost:88/ii/testdialog.html:31:11) at http://localhost:88/ii/testdialog.html:25:67"
If you add enough delay before hiding to ensure that the animations have completed, no error is thrown.
Looking at the code for Dialog, it appears to attempt to cancel the show() animation before starting the hide() but that cancellation seems to arrive too late (my interpretation of what is happening).
I have built a simple test case to show what happens in both scenarios.
testdialog.html (1.1 KB) - added by kbenjamin 7 years ago.
testDialog2.html (1.2 KB) - added by Paul Christopher 7 years ago.
Showing and hiding a dialog works for me without any error, see testDialog2.html.
Adding "useDeferredInstrumentation:true" to the data-dojo-config indeed gives an error but still the dialog is shown/hidden as expected. Isn't it the job of "useDeferredInstrumentation:true" to throw errors on cancelation?
Thanks, Paul, you are correct about the logging of errors. I hadn't realized that and it left me chasing this ghost.
Yeah I wish there was a way to avoid that "error" logging for cases that like this that aren't errors, but I don't know a good way.
The instrumentation can't really differentiate. Even checking if the error is a CancelError? may give false results since it could have bubbled from a different deferred. In these circumstances usually the best solution is to handle rejection yourself and only rethrow if it's an unexpected error.


text:
Metavelifer multiradiatus är en fiskart som först beskrevs av Regan, 1907.  Metavelifer multiradiatus ingår i släktet Metavelifer och familjen Veliferidae. Inga underarter finns listade i Catalogue of Life.

Källor

Externa länkar

Glansfiskartade fiskar
multiradiatus

redpajama_set_name: RedPajamaWikipedia


text:
Q: First step with Google Apps Script: Can't call a function with two parameters In a Google Sheet, I want to get some stock market informations. I created this function:
function getPrice(sTicker, iColumn) {

  var iRow = 1;
  var response = ImportJSON("https://financialmodelingprep.com/api/v3/company/profile/" + sTicker);

  return response[iRow][1].toString().replace(".", ",");

}

I'm not even using the iColumn but in my Google Sheet, I got an error using '=getPrice(B6,1)'.
If I remove the second parameter when I call the function and I use '=getPrice(B6)' it works.
Someone can explain me what I'm doing wrong?

A: I just got it, the correct syntax is
=getPrice(B6;1)
and not
=getPrice(B6,1)


text:
Blackthorne Partners Acquires Food Processing Equipment Manufacturer
Hughes Co., a Columbus, Wis.-based manufacturer and international distributor of stainless-steel food processing equipment, was acquired by Blackthorne Partners Ltd., Brookfield, Wis. Business executive Ross Lund will become president and CEO of the new company, Hughes Equipment Co., LLC.
"We have aggressive growth goals for the company, which I know we can achieve based on the company's existing staff of highly skilled and dedicated employees, our existing manufacturing technology and the new resources we will bring to the operation," Lund says. "Through investments in our people and in technology, we will help our customers become even more productive."
"Hughes Equipment Co. has an impressive lineup of highly reliable products, unparalleled customer service and an incredibly talented staff," says John Syburg, managing director at Blackthorne Partners. "We are confident we can build on that great foundation, and meet our customers' needs to an even greater degree."
Jeff Powell, the former president and owner, will retain an interest in the company and serve as a consultant to Lund. Hughes Equipment will also retain its 60,000-square-foot facility in Columbus, Wis., which has the capacity to handle anticipated business growth.
KEYWORDS: food processing food processing equipment stainless-steel
JBT Acquires Protein Processing Equipment Manufacturer
tna Acquires Food Processing Equipment Specialist Florigo International
Duravant Acquires Spain-Based Flexible Packaging Equipment Manufacturer
Handbook of Frozen Food Processing and Packaging, Second Edition
Innovative Technologies in Seafood Processing
Seafood Processing: Adding Value Through Quick Freezing, Retortable Packaging and Cook-Chilling


This Apprenticeship Program is designed to deepen an existing understanding of natural medicine so come with an open mind and heart and explore medical herbalism from the ground up! It offers you an opportunity to get closer to nature while learning and observing the wonders of natural healing and work with an experienced herbalist.
The program spans five months from Spring through Summer as we follow the wildflowers and native plant bloom from the base of the Sierra foothills up into the high country mountains. Each weekend, we spend Saturday in the outside classroom at Oak Valley Herb Farm making herbal preparations. Sunday is a field trip exploring different eco-systems.
We travel short distances to the Bear River and the Yuba River, so there is always an opportunity to swim. The three-day camping trip in July is easy car camping next to a high Sierra lake. There will be canoes and kayaks for everyone's use throughout the weekend. You can even paddle to one of our four, very diverse plant walks. During the weekend, we share plant stories around the campfire, use hydrotherapy with herbs, and build and enjoy a sweat lodge.
During the Apprenticeship Program, you'll make a complete first-aid kit from scratch, mostly from wild plants. We discuss how to choose the most appropriate herbs for each situation. Kathi shows you a variety of approaches and methods to formulating and medicine making, so you decide which ones appeal to you. You will then create unique formulas that are based on each situation. During the course, you will have an opportunity to use the products you make and share your herbal experiences with the class. Simple physiology comes into the course to explain how the medicines work on the body.
The Apprenticeship Program presents an array of different types of botanical experiences. That way, you can focus on your favorites. There will be medical botany, which specifically relates to medicinal herbs. We will discuss the importance of herbariums and you will be shown how to prepare your own. You will learn to use a botany key, and a few tricks to make plant ID easier. You will have an opportunity to learn the principles of flower essence therapy and to make your own.
The course also addresses plant energetics to look at how shamans and traditional medicine people around the world have approached healing. Kathi's love for history and folklore will help emphasize many properties of the herbs you encounter in a fun way that will help you remember important facts. This will include the ethnobotany of the Native Americans, as well as the various settlers who introduced some of the wild plants we will see. And, you will meet a group of very interesting people.
Although the Apprenticeship Program is outdoors and involves field trips, we've been able to adapt it for people who use canes, crutches, wheel chairs, and walkers. We had a one-month old baby and some very pregnant women. The youngest person to take the course was a precocious ten-year old and the oldest was a spunky seventy-year-old. This is not a beginning course, so some knowledge of medicinal herbs and experience using them is required. If you're not sure if you are qualified, or if you have any questions about the program, check with Kathi.
Add $20 after Mar 26. Monthly payment plan available.
Enjoy another slide show of the Apprenticeship Program!


Mosaic Canyon In Death Valley by Angela Stanton - 6.625" x 10.000"
Mosaic Canyon In Death Valley framed print by Angela Stanton. Bring your print to life with hundreds of different frame and mat combinations. Our framed prints are assembled, packaged, and shipped by our expert framing staff and delivered "ready to hang" with pre-attached hanging wire, mounting hooks, and nails.
Very cool. Nice color and the person gives it a sense of scale. Love it.
A high dynamic range (HDR) photograph combined of 3 different exposure photographs to get the details of this beautiful location. This is Mosaic Canyon, located in Death Valley very close to most famous attractions, like the Mesquite Sand Dunes and the Badwater lake.


, we all choices the best libraries together with best quality simply for you, and this photographs is usually considered one of photographs selections in this very best photos gallery concerning Professional Resume Templates Free Download. I am hoping you'll like it.
submitted by simply onlinesna in 2017-08-26 20:45:42. To determine many photographs within Professional Resume Templates Free Download photographs gallery you need to abide by this particular hyperlink.
Never forget to explore the next photo album, which also contains the Professional Resume Templates Free Download Fresh 20 Awesome Resume Templates Free Download picture showed above. If you have any thoughts, questions or just want to say hello to other people, please do not hestitate to submit your opinion/ideas via the following comment form.


We are excited to announce that today marks another Iridium NEXT launch milestone with the arrival of the fourth set of two Iridium NEXT satellites to Vandenberg Air Force Base; making a total of eight satellites out of ten needed for the first launch, onsite. With this milestone, we wanted to provide an insider view of the efforts taking place out in Arizona and California to prepare for the satellites safe delivery – an important step towards ensuring we're ready for our upcoming launch.
As part of this effort, Iridium is taking a page out of our own playbook to support the transportation of our satellites. Our current network in tandem with our M2M devices are used to track fleets, shipping containers and other valuable assets no matter where they are on the planet. Why not use Iridium to track our own shipments of Iridium satellites? Through our existing partnership with AssetLink Global, Iridium is equipping each satellite container with an AssetPack-3(TM) solar powered two-way tracking device, giving us added security and a view into their transport.
Shipping two at a time, in specially designed, motion and temperature-controlled containers on a flatbed truck, the satellites depart the Orbital ATK Satellite Manufacturing Facility in Gilbert, Arizona with every mile of the journey monitored in real-time. The AssetPack-3, developed by Iridium M2M partner AssetLink Global, leverages the Iridium(R) network through an embedded Iridium 9602 transceiver to enable end-to-end asset management for customers all over the globe, including remote areas not covered by other networks. By installing the AssetPack-3, the Iridium NEXT program team is able to constantly track the satellites' location and ensure their safe arrival. Additionally, the device allows the team to track vehicle motion, such as when the truck starts and stops, and poll it directly for real-time location 24 hours per day. For the Iridium NEXT satellites, their approximately 550-mile journey from Arizona to California will take about 12 hours, but for other users of the AssetPack-3 who have longer tracking requirements, the solar-powered device is capable of providing connectivity for up to ten years without any required maintenance and without any wires or external power.
We are incredibly proud to work with AssetLink Global as a partner in providing reliable and global M2M solutions. Below are some snapshots of the detailed information the AssetPack-3 tracking device provides end users, and we look forward to tracking every mile each Iridium NEXT satellite travels (at least while on Earth) with them!
For more information about AssetLink's AssetPack-3 tracking device, please visit Assetlink's website, and read the AssetPack-3 brochure.


Curiouser and Curiouser: Cake or pie? Why?
Sarah Read: Cake! Because people look at you weird when you slather frosting on pie. I'm much better at making pie, though. When I was still dating my husband, his grandfather recommended we marry on account of my pear cranberry pie.
C&C: Pie is better, I think you got the right skill set if two different ones are required to make cake or pie. And yet you didn't hesitate! What's the worst thing you've ever cooked?
SR: I think this works out well. I can woo others with pie, and have all the cake for myself. Everybody wins.
I actually don't cook very much. My husband does most of the cooking. If you ask my eldest, the worst thing I've ever made is when I put peas in the macaroni and cheese. And I bet my husband would say it's the stew I made with red cabbage that turned the broth purple. It still tasted fine, I thought. It was just extremely purple. I may have overdone the cabbage a bit.
C&C: Is there anything you can't leave the house without?
SR: I have nine fountain pens that go with me everywhere. Well, I have a few more than nine pens, but only nine of them go with me. I'm forever trying to narrow it down to five, but it's a losing battle. They all have a different color of ink in them. And I have enough notebooks to feed a small country. I hand write everything–usually several drafts on paper before I ever type a word. I just think better on paper. The soft friction of the nib, watching the ink soak in–it fires my brain up. The only down side is that I'm at an elevated risk of dying and having my terrible drafts discovered. Every now and then, when I'm cleaning, I destroy an old, full journal.
C&C: Oh PLEASE don't destroy any more drafts! The trunk of old bad writings, thats our Jacob Marley rattling, heavy chain. It's also proof that we've put a ridiculous amount of time into things, in a good way. What was the first thing you ever wrote that you *didn't* think completely sucked, and thought "I could make this better and do something with this"?
SR: Well, I have to destroy some of the drafts, or my family will someday end up the subject of a tragic documentary. If the draft is awful, but the idea is good, I'll jot the idea down in yet a different notebook, before destroying the notebook of awful words. I'm not doing anything that other authors don't do–they just use the delete key where I use a box cutter.
I'm not sure I can pinpoint a single piece where I decided I could fix it up and make something of it. I kind of have to hit that point from scratch every time. But I did write a story in college–the first new story I'd written in years–that gave me that "oh yeah, this is what I should be doing" feeling. And then I had a baby and didn't write again for more years. But I came back to it. And I'm still working on that damn story. I love it, though. It won't get the box cutter.
C&C: What's the most favorite thing you ever knitted?
SR: I play with yarn a lot. I knit, crochet, weave, and spin yarn on a giant old-fashioned spinning wheel. Like the one in Sleeping Beauty. One of my favorite things to do is to find antique textiles, reverse-engineer them, write the pattern, then make a new one from that pattern. I've got a few of those published out in the world, as well as a few of my own original designs. I'm a professional pattern editor, for a living. I'm the designated family clothier in the event of a zombie apocalypse, and I probably have enough yarn to save us all.
C&C: The stuff about the spinning wheel makes me think about the Three Fates. How did you get started with spinning and weaving and writing patterns?
SR: I always feel tied into a collective myth when I'm spinning or weaving or yarning. So much of the way we talk about our history revolves around textiles. And then of course stories are threads woven into webs, and spinners, weavers, and storytellers all share the spider as our symbol. It just all feels right. And I get my best story ideas when I'm at the wheel.
I first started making cloth because I was bored. But that first time I took string and made cloth, I felt like a wizard. It was so expressive and so practical at the same time–it could be art and craft in equal measure. And once I learned one way, I had to start learning all the others, because I'm like that. There are still a few I need to learn.
C&C: How old are your babies?
SR: My eldest son is seven–he just started 2nd grade. My youngest is just about six months, though he's closer to four months, adjusted. He was rather early, though not as early as he tried to be. He tried to make a break for it at 19 weeks, but they sewed the exit shut and I spent the rest of the pregnancy on bed rest–the last month of that in the hospital. You'd think I'd get a lot of writing done in that time, but I was too anxious. I needed very much to be outside of my head. I think I've seen all of Netflix. Little dude was in the NICU for awhile, and I was in bed for another 6 weeks recovering from the birth. I've basically been in bed since last Halloween. I feel like I've melted. But we'd been trying to have a second child since our eldest was weaned, so after six years of treatments and losses and all kinds of science, we feel pretty lucky to have him at all. I'm terrible at making babies, I guess, but I've made good ones. No more, though.
C&C: What's the best movie you've seen recently, and why?
SR: The Babadook. I think it is a beautiful, raw image of families dealing with trauma and emotional distress. The exhaustion, the loneliness, the building anxiety, the sense of losing control. And most of all, the way they care for each other, even through the ugliness. They find their strength in each other. They can't defeat the monster, but they can stare it down–face it, and learn how to deal with it. Even though it's always right there, in the house. As long as they take care of each other, they can beat it. Over and over. It's a really lovely metaphor. But it's also, at face value, just a damn fine monster movie. I saw a lot of people complaining about not being able to see the monster, or the kid being annoying, and I feel bad that they missed the whole damn movie. I just wanted to give that kid a hug. And then build monster traps with him.
C&C: Who was your first best friend?
SR: My very first kindred spirit friend was (and still is because BFF) Alicia. We met in seventh grade. She also read "weird stuff" like horror and fantasy and sci fi, and we spent the next three years in a world of our own making, until adulthood started to sneak into our heads. Some of the happiest moments of my childhood were spent with her. We went on magical journeys, which were meandering hikes with random rules like "every time you come to a rock bigger than a baseball, turn left, every time you come to a patch of snow, turn right". Sometimes that meant wading across a half-frozen pond while carrying a cat. You had to wear every feather you found, somehow. We convinced our junior high we were witches. We took the silver medal in the Earth Sciences exam in Science Olympics. We won for best performance one year at the Denver MileHiCon costume contest (it involved a lot of blood capsules). We were a good team. She lives far away, now, but we still see each other a few times a year. She has two boys as well, so instead of going on magical journeys, we mostly give lots of baths. It's still all pretty magical, though. I miss our wildness very much.
C&C: If you could go back and do/finish one more adventure with your best friend, as a kid and not an adult, what would you do?
SR: You know, we did leave one of our adventures unfinished. It was when I lived in Switzerland, and she came to visit me. My mom took us, and my little brother, to see the Matterhorn. Only we didn't make it there, because my mom fell and broke both of her ankles. Mom had to be rushed down the mountain in an ambulance and was sent straight into surgery. So there were we three kids stranded in this tiny Swiss mountain town. We went door to door looking for a free room for the night, and finally we were taken in by a Catholic monastery. The next few nights we shared a cot in the hospital, while we waited for my dad to get to us from England, where he was on business. And then Alicia had to go home. I've still never seen the Matterhorn. I'd love to finish that adventure. I think we were off to a pretty good start.
Curiouser and Curiouser: Tell me about your fascination with the painting "Flaming June" by Leighton.
Damien Angelica Walters: I saw her for the first time on a greeting card when I was in my mid-twenties. The card itself was one of those any-occasion blank cards, and the colors, the imagery, captured me and haven't let go since. I bought the card and kept it on my desk, and then a few months later, I found a larger image on a calendar. I bought it, carefully cut out the page, and framed it. I found a larger print a few months after that, which replaced the smaller calendar image, and later, found one even larger. I paid a stupid amount of money to have her professionally framed and she's been on my living room wall ever since. Something in her speaks to my heart and soul, that's all I know.
C&C: Those are the best kinds of connection to art, I think: the visceral, pure and unexplainable kind. Are there any other particular pieces/artists that you've been drawn to this way?
DW: John Reinhard Weguelin's Lesbia is another one. While I don't have quite the same visceral reaction as I do with Flaming June, I am still drawn to it in an inexplicable way and I've a print hanging in my office. With respect to more modern work, I have a print of Galen Dara's Medusa in my office as well, but that has an emotional resonance for me because she created it to accompany my story "Always, They Whisper" in Lightspeed Magazine.
C&C: What do you have in your pockets? A lucky charm? Do you have a lucky charm?
DW: Alas, my yoga pants have no pockets, and I don't have a lucky charm, per se, but I do have several xenomorph figures on my desk and a plush facehugger hanging in the doorway to my office.
C&C: How do you feel about musicals?
DW: Pauses to sing. "Memory, all alone in the moonlight, I can smile at the old days. I was beautiful then. I remember a time I knew what happiness was. Let the memory live again." I'm sorry, what was the question?
C&C: Wow!! That was a quick and definitive answer. Are you a fan of theatre at large?
DW: I'm a fan, but not necessarily a huge fan. I was very fortunate to see Jesus Christ Superstar at the Lyric Opera House in Baltimore in the 90s. Ted Neeley, who originally played the role of Jesus on Broadway in 1971, reprised his role, and it was an amazing show.
My daughter was in the theater program at school and played Cinderella in Into the Woods, and I was able to witness not only the performance, but all the hard work beforehand. It gave me a different sort of appreciation for theater.
C&C: Do you sleep in socks?
DW: Nope, nope, nope. Just the thought makes me uncomfortable. I prefer to sleep unencumbered by fabric.
C&C: Do you have pets?
DW: I have two pit bulls, Kane and Ripley, both rescues. They're seventy-five and fifty pounds, respectively, and while Ripley is a lap dog, Kane waits until you get up from the sofa, and then he steals your spot.
C&C: Do you like to color?
DW: Not really, but I like to doodle in my notebook when I'm brainstorming a story.
C&C: What do you doodle when brainstorming?
DW: Typically I doodle geometric shapes. Not very exciting, I know.
C&C: Have you broken any bones or ever had stitches?
DW: I've never broken a bone, but I've had stitches. The first time, I was two and had a tumor removed from the side of my neck. The story goes it took 200 stitches and given the size of the scar, I believe it. The second time, I was sixteen and put my hand/arm through a window (not on purpose!). The largest cut, on my forearm, took seventeen stitches to close, I can't remember how many stitches the cut on my index finger required, but I had another on my forearm that only took one, notable only because it was done without anesthetic. Why bother with one needle stick when it will only take two to sew it up? And lastly, I had surgery on two toes (I had bits of bone removed) about fifteen years ago and had stitches then, but honestly, that's a boring story, unless I mention that I was able to watch the surgery, which was neat.
Curiouser and Curiouser: What's your favorite animal and why?
Chris Deal: I have a lot of favorite animals, just depends what animal I'm thinking about at any one time. First, dogs. Why? Dogs are great. They love you no matter how you feel about yourself. Take care of a dog and they'll take care of you. Related, but wolves are just cool. Second, bears, mainly because I want to ride a bear into battle. Also, would you consider bigfoot an animal? I've been wanting to write a bigfoot piece for years, and have the basics down in my head, but I just haven't gotten to it. I guess I should note that I believe in bigfoot unconditionally. There will never be proof it isn't out there somewhere. There are still a lot of places man has never stepped foot in on this earth, so there will always be room out there for him.
C&C: Bigfoot is awesome. We have a lot of Bigfoot enthusiasts in my area. Do you believe the Yeti is to Bigfoot what polar bears are to say, brown bears or Grizzlies? And what would be your ideal Bigfoot encounter? I know you wouldn't shoot one.
CD: I think, yeah, it could be a case of two separate species in the same genus, or maybe the same species just in a different landscape. There are a lot of real out there theories about bigfoot, stuff I don't truck with. Bigfoot being alien drones, trans-dimensional shaman type of stuff. Personally, if I were to encounter one, I'm hoping it to be a situation of where I see it from a bit of a distance. Close enough to really see, but not close enough for it to get my scent and react as a cornered animal.
C&C: Do you believe in astral projection? It's the only explanation I have for the way you seem to be in all different places all over the world and so accurately write about them.
CD: I believe in a lot of weird things, but astral projection was never really one of them. I think the idea is possible, as in an infinite universe most things are, but I've never had an experience with astral projection or NDEs or psychic anything. I guess, when it comes to writing from all over the world, there is a lot of research involved, the foods, the lingo, the places, the history. I won't write about a place I am not interested in.
C&C: Since moving to Chicago from North Carolina, what are some of the dialect differences you've observed? I, for example, do not believe "toque" is an actual word.
CD: They call soda "pop". That's weird. It's either soda or Coke, even if we're talking Sprite or Pepsi, it's a Coke.
C&C: This interview has been waiting to happen for like three years. Between your lack of pushiness and my lack of follow-through, we've got a lot of information to get through. What's different now than in 2012, if I'd have interviewed you then?
CD: I've been working the day job a lot since 2012, and my writing has slowed down, but I've taken that time to be more focused, to plot and push myself to be better. I focus on individual sentences a lot more, trying to get them perfect before I go to the next. That might be a bad approach, and sometimes I try and just push everything out in one sitting. I'm always working on something or another, though, mainly this novel that I think I am afraid of. It'll sit for weeks and I'll come back and tweak it, add a little more. I know where it's going, but getting there, being true to these characters, that's been a bit like pulling teeth. Part of me thinks I need to shelve it for and dive into another idea, but I want to see if I can get it done. Confidence is a big hurdle when it comes to writing for me, trying to do the best I possibly can, but I'm my biggest critic. Since 2012 I have published Incarnations with Broken River Books, which is run the highly awesome J. David Osborne. That put me on a label that has published heroes of mine, guys I respect endlessly. I still feel like a pretender at this, but I'm striving to kill that feeling. We'll see if that ever happens. Incarnations, though, was a sort of greatest hits, the best stories I wrote, those I am proud of. Mostly longer pieces for me, a few real short ones. I've been trying to break away from flash fiction, but a few pieces still get written.
C&C: I think Nicholas Sparks is maybe the only writer who doesn't feel like a pretender sometimes, so not always having full-on confidence in yourself is a good thing. But pretending is how we get there, right? This is a clumsy segueway, but what were your favorite pretend-games to play as a kid?
CD: Honestly, I pretended a lot. Still do. I would pretend like I was in the X-Men or X-Files and come up with stories. In elementary school when they first gave us access to computers, I'd get in trouble for using the word processor too much as opposed to the math games or Oregon Trail. I even would come up with scenarios and have my mom type them out for me an this amazing typewriter she had. I loved that thing, it was the most amazing piece of technology to me when I was a kid.
CD: We lived around a mile apart at one point but never met, it was only through friends I made that I later met her. She had moved it Illinois and was visiting her sister back in North Carolina, and that's how we met. I was infatuated with her at first sight.
CD: I used to collect coins. I don't actively look for them any more, or invest in them any longer, but I keep my collection close at hand. Nothing too valuable, I just looked for pieces from interesting countries or times. I have several Soviet era pieces, pre-Castro Cuban, a few dirty slabs of metal from the Roman times you could get in batches off Ebay that you can just barely make out the faces of long dead kings. Several great Mexican pesos. Years back I worked in a coffee shop, and one of my regulars was a great old Navy vet, and he took to bringing in coins he had duplicates of, which included a Nazi nickel, not sure the right name, but it's interesting just for the morbidity of it. For a while I had a decent series of Silver Eagles going, but hard times called and they had to go.
C&C: Can you shoot? Let's talk about guns and stuff.
CD: Guns are great if you know enough to respect them. Trigger discipline, knowing well enough not to point a gun at anything unless you're going to point the trigger, check, check, and recheck if it's loaded. Even if you just unloaded it, check again. Because of Illinois laws, I can't go shooting until I get a FOID card, which I'm patiently waiting for. Guns were always a part of my family, mainly just to shoot and practice with, protection. We never hunted. My dad saw no need for it. We fished all the time though. It was just something we were expected to know, how to shoot. My dad had a few friends with land we could go out on and set up targets, try out pistols or rifles. I always was getting my dad to take me to the gun shows, up until I noticed the weird stuff that was there. KKK coins, racist books, people asking if we were okay with how the country is going. I couldn't go back to one after that, it just lost all the fun. Still, once that FOID card comes in I'm thinking of getting a shotgun or a maybe a Glock to practice with. Turns out you can't even by ammo up here without one of them cards.
C&C: Gun shows ARE bizarre. It's just rows of white dudes at folding tables wearing camo in the heat of some warehouse, selling laser sights and weird bullets and talking about End Days. Do you think we're coming to the end of our Apocalypse fetish? It's been awhile since Y2K didn't take us all out, and zombies have peaked in pop culture, do you think people are giving up on the pulled-plug and moving on to other fantasy scenarios?
CD: There will always be a part of society that is interested, if not obsessed, with the idea of end times. It's a major factor in religion, and at the same time it lets those who are tired of the day to day grind to think about what they would do if they had the total freedom that the end of things, were they to survive of course. We'll always have books and movies about the end of things, it's one of the most popular video game genres as well, what with Fallout 4 finally hitting the shelves just a couple months after the Mad Max game. Hell, I'm currently neck deep in Dying Light, a post-apocalypse game with zombies. Post-apocalyptic themes seem perfect for video games, in that it is a bit more direct in the fantasy fulfillment. Zombies themselves may move to the back of the horror pack, but there are so many holes in the living dead for us to insert our fears that they will never go away. I really think, if anything, we're going to have more post-apocalypse fiction than less of it, but there will be some other idea, more likely old than new, that will come around and capture our imaginations for a while. All I know is I want to see a lot more bigfoot fiction. Next chance you get, ask Stephen Graham Jones to write some.
Curiouser and Curiouser: You posted online recently about "tiny masterpieces." Tell me what you were thinking of. Have you thought much of Victorian eye portraits? That's immediately what I assumed you meant.
Gabino Iglesias: Victorian eye portraits are wonderfully creepy. I wasn't thinking about them then, but I'm definitely thinking about them now. Anyway, I was thinking about really small things that are masterpieces and we tend to more or less ignore because of their size/duration/apparent insignificance in some contexts: a superb guitar solo, a 55-word story that leaves you breathless, a piece of quartz, a really good brownie, tiny plastic dinosaurs, etc. The Big Picture is important, but if we forget to stop and be marveled by the colors and strange appendages on a bug once in a while, then we lose context and balance. Yeah, tiny masterpieces are cool.
C&C: Do you keep and collect tiny things? Do you have tiny boxes filled with tiny stones or hands from watches or human hair?
GI: The only thing I really collect is books, but I've also been known to pick up and bring home weird small things. Shiny rocks, dry insect carcasses, marbles, old keys, etc. I used to have a lot of random stuff and parting ways with my treasures was hard, but then I moved to the US with an old laptop, my guitar, and a few shirts and leaving stuff behind became easier. Now I pick things up and bring them home, but then get rid of it when I need space for more books.
C&C: Do you take photographs as much as you write?
GI: For a few years, I photographed much more than I wrote. I've worked as a photojournalist a few times and my photographic work received a prize by the Instituto de Cultura Puertorriquena many years ago and was represented by Art Connectors in Austin for a while. Now I do it for fun once in a while and write more than I shoot. I've been riding the bus for 7 years now, and one day it just clicked: I can share some of the stuff I see with the world using just my phone. Since then, I give folks things like awesome piles of garbage, broken things, and nature.
C&C: How do you feel about graffiti?
GI: A few years ago I thought of graffiti as either artistic expression or ugly attempts at it (depending on the quality of the work). Then I worked at a tattoo shop and the main artist was also a painter and graffiti artists. He brought books to the shop and I ended up reading about the history of graffiti in New York and things like he evolution of lettering and tagging wars. Now I always try to read graffiti as well as enjoy it. I also somewhat dislike cities or parts of cities where there is no street art.
C&C: Who was your first crush?
GI: She had no name. It was a brunette gymnast (model?) in a sportsy folder I got for school. She was perfect.
C&C: Are you afraid of any animals? Why or why not?
GI: I have a healthy respect for some animals. I've been too close to a shark and have seen what some snake bites can do, so I respect and don't mess with the space between us. Every time I see a video of some idiot getting thrown into the air by a buffalo because he got too close or losing a limb to a crocodile because he or she thought they could be faster and put up a show, I giggle because stupidity should always be painful.
C&C: What exactly does that mean – "too close to a shark"?
GI: I was spearfishing near some rocks in a place called Icacos. There was a very tall reef wall. I was going around it and suddenly spotted what I'm almost sure was a blue shark. It was probably somewhere between 8 and 9 feet, but it looked more like a 20 feet monster to me. Not gonna try to guess how close we came to touch, but it was way too close for comfort. He turned right and moved away. I remember staying put as it swam away and hearing my heart pounding in my ears. I wasn't really in the mood for more fishing that day.
C&C: Can you play any musical instruments?
GI: Literature and music are the only two constants in my life. That's good because they're also two of the things I care most about. I've been playing guitar since I was 15 or so. I love to play bongos and can do a decent job on congas. I'd love to play the piano, but that requires the kind of time I don't have.
GI: A pen, random pieces of paper, and my eye drops. Oh, and secrets.
C&C: Cake or pie? And why?
GI: Cake. Cake and a glass of milk. Folks are too damn fond of putting fruits and other assorted crap in pies. Give me fresh fruit and then cake. Keep your pie, especially your pumpkin pie. I have a thing about pumpkin-everything culture. I won't get into that because then angry sorority girls who love their PSLs will come for my head, but yeah, cake all the way. Cake is soft and moist and you can put stuff inside and top of it. You can also cut it without crap falling out and then having to chase your dessert all over the plate. Plus, frosting. Cake wins.
Thanks for letting me talk about cake!


text:
Q: Angular2,3,4 observable return true false after resolve service This is return observable I want true or false to resolve my children routes
canActivateChild(childRoute: ActivatedRouteSnapshot, state: RouterStateSnapshot): Observable<boolean> | Promise<boolean> | boolean {
    return this.isEmailExtends(childRoute);
}
isEmailExtends(ActivatedRouteSnapshot):Observable<boolean> {
     let email = "harishverma555@gmail.com";
     return this.userService.verifyUsername(email).pipe(
         map(response => {
             return true;
         }),
         catchError((error) => {
             return of(false);
         }));

}

}


text:
1 new notification in the manufacturing industry: unified internal communication with an app at Güntner-Tata Kft.
A company app in the hands of your manufacturing colleagues? When it comes to modernizing and, above all, unifying internal communication, the introduction of an employee platform is not just a futuristic dream but a feasible, effective, and likable solution. Our case study with Lída Blaskovics, Communications Specialist at Güntner-Tata Kft., is a clear proof that digitization can be a great fit in the culture of manufacturing companies.
Since 1990, Güntner-Tata Kft. has been a major part of the German-based Güntner Group, manufacturing industrial refrigerators. Founded in 1931 in Munich as a refrigeration manufacturer, the company is a global specialist in commercial refrigeration and processing, with more than 50 offices and 6 manufacturing plants worldwide in Europe, Asia and America.
Güntner-Tata Kft. is the largest employer in Tata and the surrounding area, employing nearly 1,400 people, of whom around 900 are physical workers and 500 are office workers. Average age is 42, and the gender split is to be expected given the demanding physical nature of the work involved in refrigeration manufacturing: 84% of coworkers are male and 16% are female.
Up-to-date, immediate information for physical workers
Internal communication on a single platform
Increasing employee engagement
Güntner-Tata used to inform as many of its non-desk colleagues as possible through posters, closed Facebook groups and the so-called "Weekly Tens" briefing, where team leaders would give a verbal summary of recent news to colleagues once a week for ten minutes. A company newspaper with 1000 copies was published quarterly and distributed via email and bulletin boards.
All approaches fell short, however, in terms of both timeliness and accessibility. Furthermore, since interpersonal communication was disrupted during the pandemic, a replacement solution was urgently required. A survey showed that there was a strong demand from colleagues to improve internal communication as well. E-mail reached office workers, but not physical workers without a company account. Closed Facebook groups are hardly official, and many people don't like to use their private profiles for work purposes. The readership of scattered news items that appeared here and there was not measurable, and there was no opportunity for feedback or two-way discussions.
The company has chosen the Blue Colibri App employee platform. The employee platform, as the name suggests, makes everyday life easier not only for HR professionals but first and foremost for employees: it provides user-friendly digital solutions for communication, administration, training and community building in a single platform. Both employees and upper management have responded very positively to the app, which has greatly contributed to its rapid roll-out.
"With the help of the Blue Colibri team, we supported the launch with a prize game campaign, complete with information posters, and within five days, 500 colleagues had already registered on the system," Lídia Blaskovics, Communications Specialist, told us.
Introducing a new digital solution will, of course, inevitably be met with some initial doubts. There were plenty of skeptics among the older colleagues, but in the right way, they could be persuaded to register and actively use the app. The secret, Lídia said, was the right support: colleagues were actively assisted with the app download and registration, and later motivated with prize games divided into age groups. It was also important that all the information was consistently available on the app, and that it was only possible to register for the various programs (e.g., the company loyalty card program) exclusively on the system.
Pro tip: for such a target audience, it is particularly important that the chosen platform is accessible on both mobile and web, and that its design feels familiar - the Blue Colibri App, for example, follows the logic of the most popular social media apps.
The up-to-date, fast flow of information is now possible without the previous limitations, so that all users have access to the latest news immediately after publication. Content can also be easily segmented, so users will always find the news that is relevant specifically to them on the app.
Not only the news, but also the document library, applications, contact details and programs are available on the platform. Onboarding and e-learning materials, videos and tests have also been moved to the app, with easily retrievable information that can be viewed again at any time. New entrants can thus familiarize themselves with the application from day one.
The company culture has been noticeably strengthened: programs are easier to organize on the platform, more people sign up for them and more employees are willing to participate
Two-way communication is now possible: colleagues can quickly contact the right person in case of any questions via chat, and give feedback through comments and surveys.
"The app's advantages over competing solutions is that it grants us the ability to access and share more things in one channel, in one platform, from news and applications to buy-and-sell groups. It's really all in one place," concludes Lídia Blaskovics.
Management Q&A vlog series: starting with the CEO, the series was very enthusiastically participated by colleagues. The management team still reports on major news in videos, and the CEO reports with a video at the end of each month. This greatly increases engagement and the confidence of colleagues in the management team.
Increasing engagement through getting-to-know-you columns, such as the Career Paths interviews on upward and sideways careers, and the Interesting People column on specific hobbies. This not only brings colleagues closer together, but also motivates them to use the app regularly.
Free wifi has been made available on company buses, so colleagues can catch up with the latest news on the way to work.
In addition to organizing great activities to support community life, Güntner-Tata Kft. also conducts surveys among colleagues to make sure they focus on the topics that interest them most, thus continuously improving the internal communication strategy.
"For those who want to keep up with the times, it's definitely worth taking the plunge: the app unifies communication interfaces, is sustainable, fast and makes it easy to reach colleagues as quickly as possible."


text:
ArtWalk provides glimpse into artists' creative spaces
By Mindie Paget
Mother and son Pam and Dave Loewenstein work in two vastly different corners of the art world.
Pam Loewenstein spends hours bent over her potter's wheel, forming wet clay into mugs, bowls, plates, jars, then applying colorful glazes. Her finished pieces line her studio shelves and often end up in other people's kitchens.
Dave Loewenstein devotes weeks, sometimes months, to creating massive, color-rich murals. His finished works � almost always crafted cooperatively with help from community members � grace the exterior walls of buildings and become bold community landmarks.
Yet despite their difference, the artists share more than just a last name. They also share a studio.
"It's great to have her around," Dave said of his mother. "As an artist, you need another pair of eyes to look at your stuff. She's an incredibly deep thinker, well-read. She always brings a new perspective."
Their common work space � a white cinder-block building adorned with dynamic murals at 411 E. Ninth St. � will be one stop on next weekend's Lawrence ArtWalk, the annual self-guided tour of Douglas County artists' studios, galleries and other art spaces.
Scott McClurg/Journal-World Photos
Pam Loewenstein, left, and her son Dave Loewenstein share a studio at 411 E. Ninth St. Pam is a potter and her son is a muralist. Both artists will have their works on display at the ArtWalk, the annual self-guided tour, on Saturday and Oct. 27.
The event gives exposure to the area's many talented artists and provides the public with a chance to chat with artists in their own creative work environments.
"We want prospective patrons to talk to the creators of the artwork that we hope they will buy," organizer and photographer John Wysocki said.
Several studios not normally accessible to the public will be open during the ArtWalk, and many artists will offer demonstrations of their crafts.
Pam, for instance, will work at her wheel as visitors cycle through her studio.
Pam Loewensteing molds a new piece of pottery in preparation for the ArtWalk.
"It's always fun to see who shows up," she said. "The kids, especially, are just sort of awed to watch a piece of clay come up and turn into something."
Dave, most of whose work is very location-specific and not created in the studio, predicts he'll spend most of his time during the ArtWalk talking to people who are curious about how and where he works.
He lived in Hutchinson this summer, where he painted a 32-by-140 foot mural on a prominent downtown building. Though his murals adorn Lawrence structures � like Cordley School � he does most of his work these days out-of-town, out-of-state and even overseas.
Nonetheless, he will have a few items for sale at the ArtWalk.
The eighth annual self-guided tour of artists' studios, galleries and other art spaces will be from 10 a.m.-6 p.m. Saturday and noon-5 p.m. Oct. 27. The event is free.Guide maps will be available at all locations during the event and in advance at the Lawrence Arts Center, 940 N.H., and the Lawrence Visitor Information Center, 402 N. Second St.For more information, check out the ArtWalk Web site at www.sunflower.com/~lawrenceartwalk or contact organizer John Wysocki at 865-4254 or lawrenceartwalk@sunflower.com.
Although Dave is something of an ArtWalk veteran, this will be his mother's first year to take part. More than a dozen first-timers have joined the steadily growing tour this year, Wysocki said.
He has watched the ArtWalk grow from an exclusively downtown event with less than 30 artists to a countywide activity with more than 70 creators.
"There's something for everyone," Wysocki said. "One of the neat things about this is going around and coming across something that is surprising and enlightens you. Even though there's one image per person on the guide map and on the Web site, not until you visit with a particular artist do you discover some unique treasures."
Copy and paste the link:
More like this story on Lawrence.com
More than 80 artists to participate in ArtWalk 2000
Artwalk venues
Lawrence ArtWalk names new director


text:
Fifth Art in the Park festival in Leamington will have tree theme
Artists and organisers are getting ready for the fifth Art in the Park festival in Leamington in August.
Oliver Williams
A weekend of creative inspiration is in store for all ages at Leamington's annual Art in the Park festival.
More than 180 artists, from potters and painters to dancers, actors and musicians contribute to a weekend of creative fun based in and around Jephson Gardens on the weekend of August 4 and 5.
It will provide visitors a rare opportunity to watch skilled artists at work, participate in free workshops for children and adults, appreciate a wealth of talent and take home some unique pieces of art.
The theme for this year's event is trees in all their glory.
As a new feature, the event is running guided tree walks in honour of the park's status as an arboretum and as a tribute to the traditional Festival of the
Oaks which took place in Jephson Gardens in Victorian times.
Festival director Carole Sleight said: "Our tree collection is intrinsic to the character of the town.
"This unique insight, plus a celebration of trees through dance, drama and a dramatic collection of over 200 hand-knitted birds perched in the branches created by the community arts team led by Ali McKellar, will undoubtedly keep our visitors intrigued, educated and entertained throughout the weekend.
"Throughout the gardens the pathways will be filled with artists doing inspirational things. A trail of pop-up suitcase stalls will lead visitors to the Pump Room for stunning 3D art from Made in Leamington and bird-inspired activities and special ceramic events in Leamington Art Gallery's craft space to compliment the venue's stunning new re-hang of previously unseen work.
"2018 is a special year for the arts in Leamington, with the 20th anniversary of Leamington Studio Artists and the 30th Anniversary of international dance theatre company Motionhouse.
"The sheer variety of artistry being featured in this festival reflects the town's strong creative pedigree and guarantees that there is something for all the family to enjoy.
"This year we are especially proud to be able to deliver some special performances funded by the Arts Council England including a digital arts collaboration with Fish in a Bottle to create a special augmented reality experience featuring the Three Graces.
"Coventry's high flying Highly Sprung and Talking Birds theatre companies along with international performance company Motionhouse will thrill with their dance and theatre.
Leamington and Warwick MP and Warwickshire County Council awarded for support of small businesses
"And leading outdoor theatre company Heartbreak Productions will stage a free ticketed performance of Pride and Prejudice on the Saturday evening."
The festival is open from 10am to 6pm on both days.
Tickets for this event are available on the website.
Louise Richards, Executive Director of Motionhouse: 'We are absolutely delighted to be part of Art in the Park again this year. As a touring company it's great to be able to perform in our home town for the third year in a row.
"This year we have the additional excitement of our 30 year celebratory Dance-a-thon on Saturday the 4th, so we do hope that lots of people will come out and join in the fun as part of their day out."
Louise Richards, executive director of Motionhouse addded: "We are absolutely delighted to be part of Art in the Park again this year.
"As a touring company it's great to be able to perform in our home town for the third year in a row.
www.artinpark.co.uk
Air ambulance lands in Leamington after pedestrian hit by vehicle
Leamington businessman had more than 1,000 counterfeit goods among his stock
More from Leamington Courier


65% Polyester, 35% Viscose – Easy Care Fabric.
Mechanical stretch fabric with stretch lining.
Single back inverted pleat – reinforced with modesty panel.
Curved waistband with loose belt loops included.
Wider seams and 5cm (1.9in) hem allowance for easy alterations.


The Superliner Bedroom Suite, made by combining two adjoining Bedrooms, is ideal for four passengers but can fit six. It's furnished with two large sofas and two easy chairs next to large windows. At night, the sofas convert to lower beds, and the upper beds fold down from above. Suites feature two sinks and two private, enclosed restrooms with toilets and showers.


Windsor – The marshes of the Great Lakes play an important role in our lives. They filter sediments and toxins out of our water, moderate the impacts of drought and flood, and house and feed a myriad of wildlife species. The U.S. National Fish and Wildlife Foundation and Environment and Climate Change Canada have provided funding to increase wetland survey coverage in the Windsor-Essex area. To achieve this, the Marsh Monitoring Program (MMP) is offering an Orientation and Training Session through the City of Windsor and Essex Region Conservation at Ojibway Nature Centre, 5200 Matchette Road, Windsor on March 8, 2018.
Come join us and learn about wetland conservation initiatives in your watershed and the Marsh Monitoring Program and Protocol. Those interested will also be able to see available routes and sign up for one.