text:
J.C. Hallman No. 32
The Shock of the Crazed
The hidden world of art brut
© David Johnson
Art brut "auteurs" are not artists, I'm told. The champions of art brut—variously translated as "raw," "rough," or "outsider" art—stress that the work of individual, untutored practitioners trumps all the usual conventions of artistic legacy-building, including the analytic categories of art criticism. Hence, those who write about "auteurs" are, at best, critiques bruts.
Lucky for me. I'm not even an art journalist, to be honest. I am untrained, I have no knowledge of art history, and most art aficionados would probably find my taste pretty plebian. Like the irate middle-class philistines of modernist legend, I sometimes look at what passes for art these days and think, "What the fuck?" (I'm talking to you, Cy Twombly.)
I heard about the recent art brut show at the American Folk Art Museum in Manhattan from the New York Times. The show has already closed. You can't go see it. That's how crappy an art journalist I am.
But I went to see the show a few times, and what struck me at first wasn't the auteurs at all, but French artist and art brut champion Jean Dubuffet's manifesto, "Anticultural Positions," which was hung on the museum wall in its original manuscript form, as though it were a piece of art brut in its own right. "Anticultural Positions" was delivered as a lecture at the Arts Club of Chicago on December 20, 1951. Marcel Duchamp helped Dubuffet translate the speech into English.
Wait a second. I was struck by the auteurs. That's why I'd gone to the show in the first place: because as a writer, on the subject of art or anything else, I think of myself as sort of self-taught. I, too, shun the familiar models of aesthetic and intellectual advancement via incremental mastery and expertise. Instead, I prefer dramatic chronicles of the shift from ignorance to knowledge, from innocence to experience. In other words, I want every story to reinvent literature. I want every drawing to expand the definition of art.
That's what I found at the show, among the auteurs. But to my considerable surprise, I couldn't fully embrace the chaotic mythos of art brut as a purely self-invented tradition. And now, as I try to think up ways to characterize the pieces that came from some of Dubuffet's earliest expeditions to gather the elaborate productions of madpersons who were locked away in European psychiatric hospitals, I find that my instinct is to place the works into preestablished traditions or histories, if only so that you might be able to picture them. How else to account for their stories, which seem calculated to undermine the steady commercial march of art as depicted in high-end auction catalogs? In lieu of a stately succession of movements, schools, and styles, art brut gives us an array of butchers and scientists and soldiers and housewives who suddenly went crazy and then produced huge bodies of work—most often for discrete periods of time, three years or eight years or fourteen years—before falling silent and eking out the rest of their isolated, artless lives.
I sometimes look at what passes for art these days and think, "What the fuck?" (I'm talking to you, Cy Twombly.)
Take, for example, the case of Auguste Forestier, one of the first auteurs Dubuffet stumbled across. Forestier spent his life in a psychiatric institution after causing a train to derail at age twenty-seven (he had piled stones on the tracks). In sizing up his work, I want to say that there is something vaguely Aztec about the small wooden statuettes he carved with a cobbler's blade from recovered wood and decorated with scraps of fabric, leather, metal, and string. Of Augustin Lesage, a miner from a family of miners, who began to work in oils on canvas when a voice from deep in a mine told him he would one day be a painter, I want to argue that his productions look like medieval portrayals of heaven and hell, those crowd-clustered renderings of Christian afterworlds, though there is also something Buddhist or Indian to the works' obsessive intricacy. And of Berthe Urasco, who studied piano and voice as a young woman before sinking into paranoid delusions and spending seven years in the Bel-Air Clinic near Geneva, I would claim that her drawings of huge-eyed figures staring out from bleak landscapes recall the ancient statues that led psychologist Julian Jaynes, the great theorist of the "bicameral mind," to conclude that early Homo sapiens had not yet formed a complete brain.
© Claude Bornand
But all of that is wrong, sort of. Because Dubuffet's point is that art brut "auteurs"—his term—weren't responding to anything at all when they set out to create their works. They did not think of themselves as artists, and they were part of no school of art. They belonged to no tradition. Their work was "in conversation" with nothing. To describe their productions by comparing them to anything else—even to call the work "art"—was to miss something essential.
That essential thing—the reason Dubuffet had gathered the frenzied works of madpersons in the first place—was what he attempted to articulate in his manifesto, hanging on the museum wall in French and in English, some of it handwritten, some of it typed. I was able to read enough of it there on that first visit to be roused by it, to recognize the hand of a kindred soul in some of Dubuffet's claims, and to be outraged by others.
Margins Incorporated
"Anticultural Positions" doesn't list the names Dubuffet tried before "art brut"—"crude art," "marginal art"—and the lecture is, first and foremost, an attempt to sketch out the "borders" of whatever he was attempting to describe. To get at this, Dubuffet set about dismantling all of Western culture, which he likened to a dead language and then criticized for its contempt of nature, for having fetishized logic and reason, for being overly fond of analysis, and for having too routine a notion of beauty. Laudable points all. Despite the manifesto's charms, however, Dubuffet makes his argument more succinctly in a different essay, "In Honor of Savage Values," in which he claims that when an artist "reels off something that is not his, that he has received from outside, I consider that we are looking at a counterfeit work, which is entirely uninteresting."
Now, even I can tell you them's fightin' words. "In Honor of Savage Values" suggests more or less the opposite of what T. S. Eliot prescribes in "Tradition and the Individual Talent," which I understand to be the proposition that art is always in conversation with other art—and that, yes, sure, the vision of the inspired individual is important, but it's also important, as you apply your individual vision, to understand the tradition to which your vision responds, and which it might tweak, bolster, transform, or quash. Dubuffet disagreed with all that—I found I did too—and he said a bunch of other exciting things as well, which I was able to grasp even on that first day in the museum. For example, when he claimed of his quirky auteurs that "insanity is the term used for everything that is distanced from the normal . . . and there are various ways to distance oneself from the normal prototype," I experienced a thrill of recognition and thought of Georges Canguilhem's The Normal and the Pathological, which predated "Anticultural Positions" by just a few years.
Even commentary about Dubuffet excited me. When an essay in the book of the museum's show claimed that Dubuffet's own literary productions demonstrated that "the act of writing about a work of art should be a literary reenactment and re-performance of it," my brain bloated with admiration; this approach was virtually identical to critic James Wood's claim, many years later, that "criticism means, in part, telling a good story about the story you are criticizing." By way of contrast, when Dubuffet argued that "painting is more concrete than written words and is a much richer instrument than written words for the expression and elaboration of thought," I felt a bubble of bile rise in my throat, and I wanted to travel back in time and hit him with James Agee, who, again just a few years earlier, had cried out an anticipatory retort: "Words could, I believe, be made to do or to tell anything within human conceit. That is more than can be said of the instruments of any other art."
But nothing hit me harder or stuck longer than those first claims about the borders of art brut, probably because it felt like they'd been addressed to me personally, and because they tackled obliquely the fundamental question of what art is exactly. For Dubuffet, it seemed, art was mostly, or perhaps entirely, about what we understand consciousness to be. "Art addresses itself to the mind," he wrote, "and not to the eyes."
© Olivier Laffely Carlo Zinelli
Almost a hundred years before Dubuffet, American psychologist William James—who addressed the mind directly by coining the phrase "stream of consciousness"—studied to be an artist for several years in the Newport studio of painter William Morris Hunt. It's unclear whether it was an episode of depression or his father's disapproval that ultimately steered James away from brushes and canvases, but what's known for sure is that some time later James outlined a polemical lecture about schools of art. Enough remains of his notes to reconstruct a thesis. Schools of art celebrate uninspired work, James wanted to claim, because art conceived as a response to other art was the creation of an artist knowingly borrowing from or mimicking or working in the thrall of another artist, one who was the school's original visionary. This work, he theorized, tended to lack a spark of inspiration that you could see at a glance, the magical resonance that the beholder of art craves without ever knowing that he or she desires some mysterious nourishment. In other words, schools of art create watered-down art and watered-down artists.
Dubuffet's critique of "counterfeit" works might have been drawn directly from James, had James gone ahead and written his polemic. But that didn't happen, and in any event, what's substantially more interesting is what James did with the core idea of his aborted lecture decades later, when he penned what Robert Stone once described as the most important work of nonfiction of the twentieth century, The Varieties of Religious Experience. The book celebrated personal religion in a highly secular time. More specifically, it argued for the truth of mystical experiences: the fleeting and indescribable intervals that left individuals transformed, convinced they had been touched by a divine presence. James was struck by the uniformity of these experiences, stretching across cultures and eras. He believed the reports indicated something real and true. He was far less keen, however, on the movements that tended to grow out of mystical experiences.
According to James, all organized religions followed a basic template: a mystic has an experience and then becomes a prophet by dint of communicating the experience to seekers who, disillusioned with highly structured traditions, hunger for something new. A movement grows as the message is disseminated, and the prophet is heralded as an earthly divine presence. When the prophet dies, leadership passes to a figure with no immediate experience of the animating vision, and the group's core purpose shifts to growth and self-perpetuation; it becomes corporate in nature. A now watered-down cosmology appeals to a new laity, a different sort of seeker who longs to become attached to something established and communal. Soon, not much remains of the animating vision—the movement is no longer based on a tactile experience of something believed to be otherworldly, but rather on an organization that offers the corporate rewards of hierarchical advancement and an association with institutional wealth.
Which brings us back to Dubuffet and art brut. An artist, it seems to me, is one who attempts to receive at will the kind of vision that arrived spontaneously in those who were once labeled mystics. The "creative process" is an attempt to conjure inspiration. Art brut "auteurs," then, are mystics of another sort: the culture's soulfulness locked away in asylums, desperately recording visions they mistook for glimpses of other worlds.
A Brut Abroad
And inevitably, it seems, the solitary transports of art brut auteurs became bound up with broader currents of political and commercial madness in the modern age. As a result, like debutante globetrotters, the works displayed at the American Folk Art Museum had to cross the Atlantic three times before I had the chance to see them.
Their full story begins even earlier than that.
In 1923 a mentally ill French factory worker named Clémentine Ripoche filled a ledger with visionary images of clouds and interpretations of cloud formations. She posted the notebook to the director of France's National Meteorological Office, which was headquartered in Paris, in a weather laboratory on the third floor of the Eiffel Tower. The notebook was given to then twenty-two-year-old Jean Dubuffet, who had been assigned to the Meteorological Office to perform his obligatory national service. Dubuffet had long nursed a passion for nontraditional art, graffiti, prisoners' tattoos, and so on. Intrigued, Dubuffet met several times with factory worker / cloud interpreter Ripoche, but it would be years before he would begin to amass his own collection of works produced in psychiatric hospitals. Before then, Nazi Germany, led by a different sort of madman, one whose own artistic sensibility hewed far closer to tradition, led an attack on the art world that culminated in the infamous Degenerate Art show of 1937, in which the works of the mentally ill were displayed alongside the work of modern artists, presumably to suggest that they were all equally certifiable.
"Auteurs" are the culture's soulfulness locked away in asylums.
During the war, French surrealist poet Paul Éluard, a friend of Man Ray and Pablo Picasso, spent time in a psychiatric institution southwest of Lyon. Éluard wasn't crazy. His patriotic sonnet, "Liberty," had been reprinted thousands of times over and dropped from British aircraft all across Nazi-occupied France. Hiding out in the hospital, Éluard discovered among the institution's permanent residents Auguste Forestier, the creator of the Azteckian statuettes, who—in addition to having set up a makeshift craft studio in a hospital corridor—was wont to strut the halls wearing military-style "medals" that he had made himself. Forestier's completed statuettes were displayed for sale atop the exterior wall of the hospital yard. Éluard promptly recommended the odd work to Dubuffet, who began to study Forestier's work in May 1945, eight months after the liberation of France, just at the time of Germany's surrender.
Now, it seemed, Dubuffet's vision of a global art brut community began to stir into fruition. Two months later, he traveled to Switzerland, accompanied by another writer friend and, more notably, the architect Le Corbusier, to document the productions of psychiatric patients and prison inmates. Psychiatrists in Bern and Geneva had already begun gathering the work of their more remarkable patients in modest museums. Soon, Dubuffet was not content simply to record the works' existence. He began to collect.
He opened a small museum of his own in 1947, in the basement of the home of an art-dealer friend, and the following year Dubuffet formed the short-lived Compagnie de l'Art Brut, whose members would number in the dozens and include artists and writers ranging from André Breton to Wallace Stevens. Soon, however, the group was beset by the usual organizational difficulties of limited financial resources, disagreements over its mission and vision, and accusations that Dubuffet's managerial style was more like that of a dictator than that of an equal member of a society of like-minded thinkers. Dubuffet disbanded the group in 1951.
Art brut might have died then and there, if not for a peculiar Gatsby-like figure—wealthy, mysterious, tragic, and installed in a vast Long Island estate that had become a common meeting place for the most famous artists of mid-twentieth-century America. Alfonso Ossorio was heir to a Philippine sugar fortune. Art was his Daisy Buchanan. (Dubuffet and Ossorio died more than a quarter-century ago now, but Ossorio's long-time partner, Ted Dragon, died only in 2011.) A painter and something of an auteur himself, Ossorio had independently developed an interest in works produced by untrained artists. His acquisition of unusual pieces predated his introduction to Dubuffet, which came at the suggestion of Jackson Pollock, in Paris, in November 1949.
Dubuffet and Ossorio hit it off at once. Ossorio purchased several of Dubuffet's paintings. Years later, a number of Ossorio's own canvases would be included in the exhibition at the American Folk Art Museum (and Dubuffet would eventually write a book about Ossorio's work), but the truth is that Ossorio's role in the story of art brut is that of a benefactor, one whose longing to be accepted as an artist led to great acts of generosity, but whose own work, at least to my eye, doesn't quite fit with the inspired works of crazed geniuses. It's all too intentionally random, too Cy Twombly.
Ossorio was a timely savior. Just at the moment when Dubuffet didn't know what to do with the art brut collection, Ossorio turned up as conveniently as a deus ex machina, sporting a collector's enthusiasm and the resources of a magnate. The courtship lasted a couple years, a period that included a vast correspondence, more meetings in Paris, and once, a joint trip to a nudist colony with Ted Dragon and Dubuffet's wife, Lili Carlu. In late 1951, fifteen cases containing 1,200 art brut works were shipped from Paris, embarking on a circuitous voyage that would end at Ossorio's fifty-seven-acre East Hampton estate, known as The Creeks. During Ossorio's lifetime, the Long Island compound would become a work of art itself, the main villa stuffed with prized works, the grounds littered with valuable sculptures. (Today, on Google Earth, you can spot a couple Richard Serras on the grounds of The Creeks, but after Ossorio's death the estate was sold to Revlon zillionaire Ron Perelman, who vacuumed up many of the grounds' sculptures, prompting one commentator to observe that Ossorio's collection had been so valuable that the addition of New York's richest man only cheapened it.)
Expert Tease
The Creeks was brand new in 1951, and there were delays before the art brut collection could be displayed in a few rooms on an upper floor of the house. Photographs of the eventual installation suggest a nose-thumbing of the high-art past in both content and form. Unlike the well-lit but curatorially anodyne presentations of museums, this collection was pointedly ad hoc: pieces cluttered Ossorio's walls and crowded his shelves. It seemed like nothing so much as an effort to embrace—and thereby own—the Nazi madman's didactic bid, in the Degenerate Art campaign, to dismiss all modern art as a haphazard miasma of raw, untutored expression.
Dubuffet followed the art brut collection abroad—in fact, he made scouting trips to prepare for the works' arrival. He delivered "Anticultural Positions" before his Chicago audience at just about the same time the works were being hung in the Hamptons. The reaction was mixed and curious: the artists whose work most closely resembled the work of the art brut auteurs (e.g., Pollock) were the ones most likely to kick back against it—to argue that, even at The Creeks, the productions of auteurs should be presented separately from the works of, I guess, "true" artists.
And this approaches the heart of what this entirely unschooled essay is trying to get at. Because it seems to be the case that those old conceptual artists, or abstract artists, or avant-garde artists, or whatever they wanted to call themselves, relied on an unarticulated definition of art emphasizing that, despite how random or rambling or unschooled their work was trying to appear, true artists really knew what they were doing. The similarity between the work of these artists and the works created by wackos who had never studied anything, who never read art history, who never apprenticed in some artist's studio, who never got a degree or drank whiskey with Pollock or Duchamp—well, too much emphasis on that vague similarity suggested that artists weren't really expert in anything. So how could the true artists sign on to Dubuffet's wild claims just at the moment when people were beginning to pay vast sums for the product of their vision and expertise? It's perhaps for this reason that the art brut collection stayed only a decade in Osorrio's storied chambers before retreating back across the Atlantic to Paris, where it remained until 1976, when the Collection de l'Art Brut museum opened in Lausanne, Switzerland. At that time, there were five thousand works in the Collection de l'Art Brut. Today, the collection boasts seventy thousand pieces.
Furthermore, shortly after the art brut show at the American Folk Art Museum closed this past January, the New York Outsider Art Fair celebrated its twenty-fourth consecutive year in operation. "It might seem paradoxical," one art magazine wrote of the fair, "but Art Brut (or Outsider Art) is increasingly moving from the art world's margins to become an emerging segment of the art market in its own right." 2016 marks the first Christie's auction of "vernacular art" held in conjunction with the Outsider Art Fair. This sale included a piece by one of Dubuffet's original discoveries, Adolf Wölfli, who had been included in the American Folk Art Museum show. Wölfli had been sexually abused as a child, was himself imprisoned for attempted child abuse, and was then committed to the Waldau Clinic, where he spent the rest of his life. He produced thousands of works, trading finished pieces for paper and pencils to produce yet more works. Christie's sold Wölfli's Lagerfeuer, which resembles no tradition or school of art that I know of, for $12,500.
The history of art brut is a history of contradictions. The greatest contradiction of all is that it's almost impossible to look at Dubuffet's own paintings and fail to conclude that he had worked in the thrall of his auteurs, quite as if art brut was itself a school of art.
To backtrack: It's not inaccurate to say that Auguste Forestier seems a bit Aztec, or that Augustin Lesage seems a bit Buddhist, because Dubuffet's real suggestion, it seems to me, is not that it's possible to shed influence completely, but that what every artist should attempt to do is shovel down into their own minds, excavate past the sediment of Western civilization that amounts to yet another, larger, school of art, and keep scraping deeper and deeper, all the way back to the beginning. In this view of things, each and every artist crafts a unique creation narrative, chronicles the birth of his or her own private aesthetic. Hence, the best work is not adult, intellectual, and informed; it is primitive, and childish, and raw.
I have a hard time looking at the work of Maurice Charrieau and not seeing a rough draft of Popeye the Sailor.
© Olivier Laffely Pascal-Désir Maisonneuve
Perhaps that's why it's easy to recognize the influence of art brut in the images that have been created for children's literature and cartoons ever since Dubuffet began showing his art brut collection. I have a hard time looking at the work of Maurice Charrieau (identified only as a "common man") and not seeing a rough draft of Popeye the Sailor. One of the few works of actual children in Dubuffet's original collection, by Annie Chaissac, is a dead ringer for early sketches of Charlie Brown. (During World War Two, Charles Schulz passed through Europe with the 20th Armored Division, just as the art brut collection was beginning to take shape.) The work of Albino Braz (schizophrenic, institutionalized in Brazil) is deeply evocative of Where the Wild Things Are and appeared in international shows just a few years before Maurice Sendak began publishing. And the peculiar figures of Carlo Zinelli (a butcher and soldier, committed to the San Giacomo Hospital in Verona at age thirty-one) bear a more than passing resemblance to the odd creatures that populate Matt Groening's early comic strip, Life in Hell.
Regardless of whether this influence is direct or indirect, the fact that these men—Schulz, Sendak, and Groening—made millions from their work suggests that whatever happened to art brut long ago, and whatever is happening now as those same original works begin to sell for tidy sums, isn't anything so simple as another "school of art." To be sure, Dubuffet's attempts to organize and promote art brut look, at a remove, a whole lot like someone trying to create a movement, a school. The movement fell apart, but even so—and ironically—those original works now hang in the very museums that epitomize the Western civilization Dubuffet had hoped to undermine. In the end, it may be impossible to identify a trend, to suggest that a trend has a value, without that value sooner or later coming to correspond to economic currency—to a dollar value that is sure to corrupt what was valuable about the trend in the first place. In other words, the coffers overflow with gold as the mystic dies, the vision gets lost, and the mechanism designed to record it evolves into something diabolical.
© Claude Bornand Heinrich Anton Müller
Speaking of dollars and mechanisms, consider, in conclusion, the case of Heinrich Anton Müller, who was born in 1869 in Versailles but emigrated to Switzerland to marry a Swiss woman and make wine. In 1903, Müller patented a clever grapevine-pruning machine, but forgot to pay the annual dues to keep the patent enforced. His invention was stolen. He fell into a depression and was committed to a psychiatric hospital in Münsingen, where he remained until he died in 1930. He began creating art in 1914. His output included a veritable bestiary of creatures in pencil and white chalk on cardboard and wrapping paper. One of his images on display in New York, an odd figure allegorically harassed by insects and a snake, served as the cover of the book of the show, Art Brut in America: The Incursion of Jean Dubuffet.
But more to my point, Müller also called on his skills as a handyman, the same skills that had resulted in his patent, to create many fanciful mechanical devices during his institutionalization, machines of perpetual motion that he built from rags, branches, and wire. He fashioned tangled gears and ingenious cogs, lubricating them with his own excrement. But here's the thing: The mechanisms can't be viewed today. They were never sold. They are not in any museum. Müller destroyed them all.
J.C. Hallman is the author of six books. In 2015, he unearthed the first evidence ever found that proved the existence of the young woman known as Anarcha. Since then, he has tracked Anarcha's full life story, from the plantation where she was born to the lonely forest where she is buried. His book, The Anarcha Quest: A Story of Slavery and Surgery, will appear in 2021.
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Starting your own chocolate business is something many of us only dream about. Amelia Rope is one woman who has immersed herself in the chocolate industry and has come up with new and innovative flavours to tantalise our taste buds. But how does one become a chocolatier or even begin to make the dream of owning a chocolate business a reality? Amelia is a current participant on the Business & IP Centre Innovating for Growth Programme and we had the chance to ask her some of our questions.
Hi Amelia, where did the idea come from to start your own business?
I have always wanted to have my own business from a young age. Looking back I think I always wanted freedom and independence from anyone controlling me financially. During my 20's and early 30's I was a PA for small businesses, large corporates, hospitals and doctors surgeries. I qualified as a massage therapist, studied nutrition, herbal medicine and qualified as an aromatherapist and my last 'proper' job before starting my business was as a Practice Manager. It took some time to finally get where I am now – I founded Amelia Rope Chocolate in September 2007 and now my chocolates are sold in hotels and department stores across the UK, in the US, Dubai and Malaysia.
I appeared on Masterchef twice - I am definitely not a chef but it gave me the courage to contemplate life amongst food. Also having a life-coach helped me believe in myself, and encouraged me to take a risk which helped me convert from a Practice Manager to a chocolatier. Another key turning point was when a well-known food editor flippantly said I could be the next Juliette Binoche (I don't think they had any idea I would take it literally!) and when my chocolate diamond geezer Patrick Reeves, who believed in me so much, put in a commission for 1,000 chocolate bars to get me kick-started. I was then lucky enough to meet Ewan Venters (then Director of Food Halls, Selfridges) who spotted my first two bars and stocked them in Selfridges.
I believe small businesses are unique in that they allow the personality of the business owner to shine through in their products, and this allows them to really make their mark in their industry. Chocolate confectionary is generally a completely crowded market. However, when I entered the premium chocolate bar market there were very few of us – in fact it was not such a flooded market then as it is now as there isn't as much space in this area. When you look at the brands in this sector you will see each of our own characters/individual stamps coming through. I love splashes of colour, design and have always had a very distinct palate for what I like to eat, loathe and crave. Put all of these together, and a mind which whirls around with lots of ideas, and I suppose you will get something different! Some of my recipes are traditional, but the end flavour I believe is different. Perhaps this stems from the way I create my recipes which are as if I was developing an aromatherapy blend. My love of sea salt influences my flavours and chocolate is such a good medium to carry salt: especially milk and white chocolate.
How did you know there was a market for your premium chocolate bars?
By complete luck! My bespoke products just hit the spot with consumers immediately after a press drop off to most of the national newspapers and magazines. My business featured in Stella Magazine, and it just rolled on from there. The chocolate bars were my most effective product to market in the range. I also went to the Business & IP Centre, whenever I had time to learn about trends, markets and begin to think of strategies and I still visit the Centre today when researching markets and developing my business plans.
What hurdles have you had to overcome in your journey so far?
The main hurdle is lack of funding to really propel forward at the pace I want to. My aim was to crank it up and have an opportunity to sell out within five years. It is also difficult to achieve a good work/life balance – for so many years I worked every day and for crazy hours. I found I let go of friends, family and relationships because my business consumed me. Now I take time off at the weekends (unless it is the busy seasonal times or I am travelling on business), go out at least 2-3 times a week in the evening and go to the gym regularly. Mentally and physically I feel so much better as a result. I have very high expectations of myself and all the people I work with but each hurdle has been worth overcoming to get where I am today.
How did you first hear about the Innovating for Growth Programme?
On twitter and I immediately went to the website to explore more. I was amazed when I won a place and it has delivered way beyond my expectations. It has given me a chance to really focus on my business. For some time I have wanted to strip my business right down to its core, cross-examine it in a critical way and then to put appropriate pieces back together, alongside bringing new facets in such as streamlining my production. With a team of experts and one-to-one sessions my learning curve has been intense, tough and challenging at times, but I have learnt so much and feel in a much better position with my business than when I started. Life is about learning and transforming – with Innovating for Growth I have begun to do both and I can't wait to see how much further I grow with the help of the programme to build a good, effective team to support me and my business and grow significantly both in UK and globally.
What tips would you give to any entrepreneurs looking to scale up?
When you set up try and bear in mind that your product may be a hit, which will lead to scaling up. Have a plan about how your product can do this, the costs involved and how it will work for your brand. Applying for Innovating for Growth can certainly help anyone on this journey. Be prepared to have a good stash of cash too!
If, like Amelia, you want to scale up apply for Innovating for Growth today.


text:
Peacefully Demonstrating for Murder
Written by: Diana West
Wednesday, March 12, 2008 6:19 PM
This, as Andrew Bostom noted, is a snapshot of a Thai organization called The Muslim Group of Peace. And, indeed, the group demonstrated "peacefully" outside the Danish embassy in Bangkok today, calling for a Thai boycott of Danish products over the Danish Mo-toons--and, according to the placard shown above, the beheading of Danish cartoonist Kurt Westergaard. Bostom writes:
And note this particularly peaceful, and ecumenical touch from the "Muslim Group of Peace" demonstrators :
There appears to be a miniature dog species in the placard, balanced upon its forelegs, with a stream of urine being propelled from between its hind quarters, which is directed at the bloody, decapitated head of the most prominent Danish cartoonist, Kurt Westergaard.
Westergaard, 73, and his wife now shuttle among safe houses in Denmark, where freedom of speech is no longer free. This is an outrage that doesn't seem to outrage anyone--which is the West's great tragedy.
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FASS and Founding Societies Support Coalition Letters on AFRI Program Budget
On February 27th the AFRI Coalition sent a letter to leaders of the House and Senate Agriculture Appropriations Subcommittees in support of the President's request of $325 million for the AFRI program. A total of 51 organizations signed the letter, including FASS, ADSA, ASAS and PSA. The letter recognizes current budget constraints, but makes the case that for every federal dollar invested in agricultural research, there is at least a $20 contribution to the nation's economy. FASS and the founding societies will continue working with like minded partners to support the federal investment in agricultural research.
FASS Sponsors National Forum on the Future Science Needs of Animal Agriculture
The Farm Animal Integrated Research (FAIR) 2012 Forum was held March 4-6, 2012, in Arlington, Virginia, to establish research, education and outreach priorities for animal agriculture. More than 160 animal scientists, veterinarians and university, government and industry representatives met to discuss issues of food security, animal and human health, and responsible environmental stewardship. This was the third national forum, which are held nearly every five years to coincide with the U.S. Farm Bill deliberations. The priorities developed at the forum are designed to provide input to the $3.2 billion federal agricultural research, education and economic programs.
The underlying theme of FAIR 2012 was the challenge of meeting future food requirements of a global population expected to reach 9 million by mid-century while preserving the ecosystems we all rely on. Experts presented economic, ecological and societal analyses, followed by discussion to identify key research, education and outreach priorities that will be essential in achieving these goals.
The recommendations of the FAIR 2012 forum are planned for release within 60 days of the conference. The end product will serve as the basis for communications to policy makers, the White House, the USDA and other federal funding agencies, universities, industry and other stakeholders. For more information on the FAIR 2012 program, please visit http://fair2012.fass.org.
FASS Washington Representative Presents Comments at PCAST Meeting
On March 6th, the President's Council of Advisors on Science and Technology held a meeting in Washington, DC. FASS Washington Representative Lowell Randel attended the meeting and presented oral comments on behalf of FASS. Lowell's comments centered around the recent FAIR 2012 meeting and efforts to identify critical priorities for animal science research. PCAST is currently undertaking a study on agriculture research and PCAST indicated a strong interest in receiving copies of the FAIR 2012 results, once they are completed.
New NIFA Director Appointed
On March 9th, President Obama announced his intention to appoint Dr. Sonny Ramaswamy as Director of the USDA's National Institute of Food and Agriculture. Dr. Ramaswamy currently serves as the Dean of the College of Agricultural Sciences at Oregon State University and Director of the Oregon Agricultural Experiment Station. He has also served as an Associate Dean at Purdue University and as Head of the Department of Entomology at Kansas State University. He is a fellow of the American Association for the Advancement of Science and holds a Ph.D. in Entomology from Rutgers University. Dr. Ramaswamy will by the second Director of NIFA, following Dr. Roger Beachy who left the post in 2011. The NIFA Director is a presidential appointee with a term of six years. The USDA press release announcing the appointment can be found by clicking here.
FASS Provides Written Comments on AFRI Program
In follow-up to oral comments presented by Washington Representative Walt Smith at the February 22nd AFRI listening session, FASS submitted written comments addressing issues related to the AFRI program's operation. The FASS written comments addressed a number of issues impacting the animal sciences including:
The need for a stronger investment in food security related research
The lack of opportunities for animal scientists to participate in many of the challenge area programs and the disproportionately low overall investment in animal science related projects
The need for more lead time in preparing for RFAs and longer page limits for larger grants
FASS and Founding Societies Support Legislation to Create Research Foundation
On March 29th, Senator Pat Roberts and Senator Debbie Stabenow introduced legislation that would establish a foundation that will enable private donations to support research on challenges facing U.S. agriculture. The bill is entitled "The Foundation for Food and Agriculture Research (FFAR)", authorizes the establishment of a 501(c) 3, a non-profit organization, and includes provisions outlining the duties and structure of the foundation, including an appointed Board of Directors representing the diverse sectors of agriculture. Similar foundations have been used to successfully support research in other areas such as human health. The new foundation can be a useful tool to foster new public-private partnerships among the agricultural research community, including USDA research agencies, academia, private corporations, and non-profit organizations.
FASS continues to work with the newly formed Ad Hoc Coalition to support agricultural research. The coalition has identified the creation of a new foundation to support agricultural research as a priority and the group drafted a letter in support of the legislation. FASS and the founding societies joined over 90 agriculture related organizations in signing the letter. It is likely that the bill authorizing the foundation would be attached to the 2012 Farm Bill, rather than moving as a separate piece of legislation. The Senate Agriculture Committee is continuing to hold Farm Bill hearings with the goal of having a bill drafted before Memorial Day.
Washington Representatives Participate in FASS Board Meeting
On March 30th, FASS Washington Representatives participated in the FASS spring board meeting. Lowell and Walt updated the Board on recent developments in Congress and the Administration and the activities of the FASS Washington effort.


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Closer Than You Know (Hardcover)
By Brad Parks
Dutton, 9781101985625, 416pp.
Digital Audiobook (3/5/2018)
Library Binding, Large Print (3/7/2018)
Brad Parks delivers a riveting, emotionally powerful stand-alone domestic suspense thriller perfect for fans of The Couple Next Door and What She Knew.
Disaster is always closer than you know.
It was a lesson Melanie Barrick learned the hard way growing up in the constant upheaval of foster care. But now that she's survived into adulthood—with a loving husband, a steady job, and a beautiful baby boy named Alex—she thought that turmoil was behind her.
Until one Tuesday evening when she goes to pick up Alex from childcare only to discover he's been removed by Social Services. And no one will say why. It's a terrifying scenario for any parent, but doubly so for Melanie, who knows the unintended horrors of what everyone coldly calls "the system."
Her nightmare grows worse when she arrives home to learn her house has been raided by sheriff's deputies, who have found enough cocaine to send Melanie to prison for years. The evidence against her is overwhelming, and if Melanie can't prove her innocence, she'll lose Alex forever.
Meanwhile, assistant commonwealth's attorney Amy Kaye—who has been assigned Melanie's case—has her own troubles. She's been dogged by a cold case no one wants her to pursue: a serial rapist who has avoided detection by wearing a mask and whispering his commands. Over the years, he has victimized dozens of women.
Including Melanie. Yet now her attacker might be the key to her salvation... or her undoing.
Brad Parks is the only author to have won the Shamus, Nero, and Lefty Awards, three of crime fiction's most prestigious prizes. A former reporter with The Washington Post and The Star-Ledger (Newark), he lives in Virginia with his wife and two children. His previous novel, Say Nothing, was named both a Library Journal and a Kirkus Best Book of 2017.
Praise For Closer Than You Know: A Novel…
**A Kirkus Best Book of 2018**
"Parks has produced a gripping story, masterfully drawn."—Oprah.com (Editor's Pick)
"Another winning tale of domestic suspense from the Shamus- and Nero Award–winning author Parks, who knows how to get readers to empathize emotionally with his characters while amping up the tension and suspense from the first page."—Library Journal (starred review)
"Parks (Say Nothing, 2017, etc.) dishes out another irresistible descent into hell." —Kirkus Reviews (starred review)
"Closer Than You Know grabs you by the gut in Chapter One and keeps upping the tension through every shocking plot twist. Don't expect to come up for air until the final, satisfying pages."—Alafair Burke, New York Times bestselling author of The Wife
"Strong plotting, memorable characters, and situations that will hit readers where they live make Closer Than You Know a compulsive read."—Linwood Barclay
"Rolling out a finely constructed story filled with tension and suspense is Parks' stock in trade, further underscored in his newest edge-of-your-seat domestic thriller."—Inside Jersey
"A diverting, exciting read, with an ending you won't see coming."—Booklist
"A mystery is supposed to be a surprise but this one floored me. Parks has been a consistently solid writer but with this book, he entered a new level with even fuller characters and superb plotting. Parks plumbs parents' anguish when their children are kidnapped."—NJ.com
"From the author of the incredible Say Nothing, this new title is so riveting that it pulls you even deeper into the thrilling imagination and amazing writing of the talented Brad Parks...a tale that at times makes the blood run cold. Brad Parks is a master at creating frightening, emotionally-overcharged stories that take your breath away."—Suspense Magazine
"[A] real gem... Closer Than You Know [is] full of what makes a great novel great. Brilliant characters, as well as a plot line that will rattle your nerves with every page."—Fredricksburg Free Lance-Star
"[Closer Than You Know] beautifully levels the tension higher towards its climax and will keep readers on the edge of their seats trying to find out whodunit and devouring every word."—Bookreporter.com
Praise for Brad Parks and Say Nothing
"Parks does a fantastic job conveying every parent's worst fear while also showcasing the marital conflict and mistrust that erupts in the midst of a crisis. The complications and twists build to an unexpected climax that is both perfect and gut-wrenching...Fans of Harlan Coben and Lisa Gardner will love this thriller. Don't stay silent, tell everyone."—Library Journal, Starred Review
"The novel's final pages are exciting, surprising and deeply moving. How moving? Its ending brought me to tears, and, where books are concerned, such moments are rare… [Say Nothing] carries his work to a new level."—The Washington Post
"Parks dispenses plot twists with a poisoned eyedropper...The nerve-shredding never lets up for a minute as Parks picks you up by the scruff of the neck, shakes you vigorously, and repeats over and over again till a climax so harrowing that you'll be shaking with gratitude that it's finally over."—Kirkus Reviews, Starred Review
"[Say Nothing] grips the reader from the get-go and doesn't let up until the final twist in a story that's filled with surprises."—Associated Press
"[Say Nothing] begins by shocking the mind and ends by shattering the heart. The work of an author who continues to raise his sights and refine his immense talent...readers will quickly say 'yes' to this spellbinding, disturbing novel."—The Richmond Times-Dispatch
"Brad Parks latest, Say Nothing, says it all—perfectly. Some books, especially stories about children acting nobly, make me mist up. But real tears, enough to require dabbing eyes? That does not happen. Yet as I finished the former Star-Ledger reporter's latest book, I was crying... [Say Nothing] takes Parks to a new level."—The Star-Ledger
"Shamus Award–winner Parks's excellent domestic thriller credibly portrays a family under severe stress… [readers will] find themselves on pins and needles awaiting the reveals."—Publishers Weekly, Starred Review
"Fast-paced and terrifying, Say Nothing is a roller coaster of fear, deception, jealousy, and terror."—Bustle
"With the tension ratcheted up to 10, you'll churn through pages like your life depends on it. Filled with more twists and turns than a country back road, you will never see what lies ahead in Say Nothing. After reading Say Nothing, I only had one thought in my head: I have to read everything Parks has written. After this book, I'm going to be a fan for life."—Fredericksburg Free Lance-Star
"Parks' legal thriller gets off to a roaring start, plunking us immediately in the middle of things."—Booklist
"Terrific stuff, and a strong writer's career continuing to rise."—About Books by George Ernsberger
"Terrific book. Truly terrific. Tension throughout and tears at the end. What could be better than that?"—Sue Grafton
"Outstanding—starts with a bang and gets tenser and tenser. Say Nothing shows Parks is a quality writer at the top of his form."—Lee Child
"Say Nothing moves Brad Parks onto the top shelf of thriller writers. He grabs readers' hearts in the first chapter, and doesn't let go until the last line."—Joseph Finder
"A pedal-to-the floor thriller! Say Nothing grabs you from the first few paragraphs and never lets go. Writing in sharp, no-nonsense prose, Parks perfectly nails the dynamics of a family under the gun and has conjured a plot (did I mention high-speed?) that leaps straight from today's headlines. This novel's a winner!"—Jeffery Deaver
"Say Nothing is tremendously satisfying, packed with engaging characters and surprising plot twists and a furious build of tension until its gut-wrenching pay-off."—Chris Pavone
"A twisting, suspenseful ride that adds a new and original twist to the legal thriller: a judge, cornered. If you haven't discovered Brad Parks yet, Say Nothing is your chance. Smart, propulsive storytelling."—William Landay
"Grips you in a vice from the very beginning, and shreds your emotions. Terrific, powerful storytelling at its very best. A tour de force."—Peter James


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Sister Elizabeth Mary Hagmaier, SND
Notre Dame Sister Elizabeth Mary Hagmaier, a Sister of Notre Dame for 68 years, died July 9.
Born in San Francisco, Sister Elizabeth graduated from Notre Dame Academy in Alameda and earned a graduate degree as well as elementary and secondary teaching credentials from the University of San Francisco.
For 20 years, Sister Elizabeth served as teacher and counselor at Notre Dame/St. Joseph Notre Dame High School in Alameda where she enjoyed teaching children of some of her former classmates.
Sister Elizabeth served as director of religious education at Treasure Island Naval Base and became a very familiar face and welcomed colleague at the archdiocesan Pastoral Center when she assisted in the Ecumenical and Interreligious Affairs Office.
"She was gentle and compassionate; she loved her own family and her Notre Dame community and was always mindful of issues affecting the larger world community," the Notre Dame Sisters said.
Survivors include a sister-in-law Gina and nieces and nephews. A funeral Mass was celebrated July 30 at Notre Dame Province Center in Belmont with interment at Holy Cross Cemetery, Colma.
Memorial contributions may be made to Sisters of Notre Dame de Namur, 1520 Ralston Ave., Belmont 94002.


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Everyone has to start somewhere, and the Currie Cup is that place for new SA rugby talent
Currie Cup / 27 October 2018, 3:30pm / Darryn Pollock
Hacjivah Dayimani of the Lions is among the rising stars who shone in the Currie Cup. Photo: Gavin Barker/BackpagePix
DURBAN – It is unfortunate, and factually true, that the Currie Cup is a mere shadow of its former self.
Once the proud decider of which province in the land was top of the rugby tree, it has diluted its competitive mark.
But, that does not mean that the baby should be thrown out with the bathwater. Rather, the Currie Cup should be viewed on its merits and what it can do for South African rugby, the unions, but most importantly, the players.
So, while we are seeing the once mighty heartland of South African rugby, the Free State, in a battle to stay in the Currie Cup due to extenuating circumstances, and that is sad, we are also seeing a new wave of young talent that could well be propping up Super Rugby next year, and not long after, even the Springboks.
The Currie Cup has become much more of a stepping stone for firstly young players to take the jump to senior rugby, as well as potential stars to cut their teeth in competitive rugby.
So, the question that needs to be asked at the conclusion of today's final is not whether Western Province or the Sharks are South Africa's powerhouse provinces, but rather, did the competition unearth some future stars?
Looking at the finalists, there is no doubt that some of the players who made their name this season from the two coastal sides will only grow from strength to strength.
At the Sharks, Aphelele Fassi is a name that everyone now knows, and wants to see more of.
The young Dale High pupil has impressed with some jinking runs, but really grabbed the spotlight when he chased down Bok star Aphiwe Dyantyi in a flat sprint like it was nothing in the semi-final.
This weekend's @TheCurrieCup semi-final saw a chase down for the ages, when #OurSharks young flyer, @onke_fassi reeled in @Springboks flyer Aphiwe Dyantyi from behind!🏃
Re-live the moment here, and see what goes through a player's mind in these situations.💭#OurSharksForever pic.twitter.com/iqD7PGqEPj
— The Sharks (@TheSharksZA) October 22, 2018
For Province, there are a few South African junior stars that are waiting to make that next big leap up.
The likes of Salmaan Moerat and Jaco Coetzee have been steadily building their own reputation after showing all the potential they have with the Baby Boks over the last few years.
Lions No 8 Hacjivah Dayimani is another one that looks destined for greatness after he played a blinder of a game against Griquas, in which he scored two tries.
Dayimani is built for the future of rugby; he can run the 100m in 10.68 seconds, has a good rugby brain and looks for space rather than contact.
For the Bulls, there is the mercurial Manie Libbok, who was also a Baby Bok star that is now showing that the senior stage is not too much for him as he plays with the same freedom and excitement that he always has.
Libbok was also the mastermind behind the Bulls' nearly-moment against Province in their semi-final.
Mannie Libbok engineered a major turnaround for the Blue Bulls in the semi-final. Photo: Phando Jikelo/African News Agency/ANA
Time will of course tell where these superstars in the making end up, and if they do indeed make it big, but everyone has to start somewhere and the Currie Cup is that place now.
The competition is still fierce enough to be a testing ground, but the stakes are probably lower – and maybe, just maybe, that's not a bad thing for all this precocious talent around.
@DarrynJack216


I finally hit the research trail wanting to learn more about a bundle of grey matter in the brain known as the insular cortex. I was stunned as to its operation and just how much influence it exerts over our emotions. This is great reading for anyone, but those enduring anxiety will really want to tune-in.
Now, some view the insula as a lobe of its own, and others see it as part of the temporal lobe. Yet others, who assign it to the limbic system, consider the insula and the other components of the limbic system, a separate limbic lobe.
The insula is divided into two parts, an anterior and smaller posterior section. As you read this article, always remember the insula is all about subjective human experience. Indeed, it's been said the insula is responsible for what it feels like to be human, as opposed to just another mammal.
To say the very least, the insula is very well connected. It receives input from the brain's great sensory hub, the thalamus; as well as from the very headquarters of our fear and emotion circuitry, the amygdala. And the communication with the amygdala is actually two-way. There's also a bilateral line of communication with the primary sensory cortex.
Given these landmarks it's obvious the insula is deeply involved with a wide variety of functioning linked to emotion and the maintenance of homeostasis, our body's ability to maintain a relatively stable state of internal regulation and equilibrium.
And, yes, it's a frequent contributor to assorted psychopathology, particularly anxiety. Hey, I find it terribly interesting that scans have shown the right anterior insula is significantly thicker in people who meditate.
Well, since the insula is involved in such a wide variety of sensation and functioning, we're going to take a look at things categorically. And though the information is certainly available, I'm going to consider the insula's functioning as a whole, rather than specifying the anterior and posterior sections. One last note. The insula is very much in the mix with regard to motor control and, as I cited, homeostatis. However, I won't be going into detail on either.
Interoception is the sensing of stimuli arising from within our bodies, especially from the major organs of the trunk. A great example is the ability to time your own heartbeat. The insula is also activated upon physical exertion and becomes involved with blood pressure control, especially after exercise.
Other interoceptive dynamics involving the insula are – perceived intensity of pain, how we imagine pain would feel in our own bodies when we observe images of painful events involving others, the degree of the skin's non-painful warmth or coldness, sensations of a distended stomach and full bladder, loss of balance, vertigo, and the sensations involved with passive listening to music, laughter, crying, and language.
The insula is receiving more and more attention as it applies to its role in body representation and subjective emotional experience (e.g.: feelings). The insula is thought to process a convergence of stimuli, formulating an emotionally relevant context for all the hub-bub. It's also very much involved in sensing feelings of anger, fear, disgust, happiness, and sadness.
And let's not forget about conscious desires such as food and drug craving. Absolutely, the insula is a player in addiction and addictive behavior. Just one example is the insula's ability to read body states like hunger and craving; ultimately pushing people to reach for that second sandwich, cigarette, or line of cocaine.
Believe me, giving the insula its due would require a book. And that's why I had to make this particular presentation short and to the point. But, go ahead, do some research. No doubt, the insula is a fascinating and still mysterious accumulation of neurons. However, as I said earlier, it's receiving more and more attention.
I liken it to the development of interest in the amygdala. It actually began in earnest in the 1930's, and with the invention and development of imaging instruments and techniques, the research continued. Of course, now we know the amygdala as the epicenter of our emotions and fears. And having this knowledge at hand opens all sorts of doors for creative and effective relief and curative measures.
So here's to tomorrow and the insular cortex. I'm thinking bunches of great news is just around the corner. Your comments are always appreciated.
Next Post: "My God, I can't be thinking these things!" Relax, they're intrusive thoughts.


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Continental invests US$73 million in San Luis Potosí
SAN LUIS POTOSI – The technology company Continental, announced an important expansion project in its automotive plant in San Luis Potosí, which represents an investment of close to US$73 million which will serve to enable around 20 thousand square meters of space for the production floor , adding to the 23 thousand the plant currently occupies, which will be used for the manufacture of disc brakes and electronic brakes for parking; all this for the automotive industry in the region.
"The decision to locate the manufacturing of these high-tech components at the San Luis Potosí plant is a strong sign of Continental's confidence in Mexico and especially in the region. The products we manufacture here are state-of-the-art technology that offers end users significant improvements in functionality and safety,"said Víctor Hernández, director of the Continental San Luis Potosí plant.
With this project, it is expected to create around 350 new jobs in the next 3 years, which will join the 650 employees that Planta San Luis Potosí currently has. These new jobs will be subject to the training and development programs that the plant currently has and are taught through its Technical Training Center, inaugurated in 2019.
In addition to the preparation of the production floor, a High Bay warehouse will be built which will have 28-meter-high racks, which will result in a high use of space for raw materials and finished products.
This warehouse will be fully automated, it will use software that will connect a system of conveyors, elevators and racks for optimal storage and handling of material, being the first of its kind in Mexico; making the Automotive plant in San Luis Potosí the largest in the world for the HBS (Hydraulic Brake Systems) Business Unit.
This expansion, which will begin to be built in a few days and is expected to be fully operational in October 2022, was largely due to the geographical, economic and welfare conditions existing in the state of San Luis Potosí, in addition that the region offers a favorable ecosystem of suppliers and industry, research centers, as well as the quality and quantity of graduates from both public and private universities.


Sweetly poised between candy and cookie, this recipes comes to us by way of the Cincinnati Chocolate Festival, where these bars landed in the winners' circle.
To make the crust: Place the flour, sugar, and salt in the bowl of your food processor, or the bowl of a stand mixer equipped with the paddle. Add the butter and process (or mix) until the mixture resembles coarse crumbs. Add the vanilla and water and process (or mix) until the mixture comes together and forms a ball.
Transfer to a lightly floured surface and roll the dough into a 13" x 8" rectangle. Put the dough into a greased 15" x 10" jelly roll pan, then finish rolling out (a pastry roller is helpful here) to cover the bottom of the pan.
Refrigerate the crust for 30 minutes while you preheat the oven to 400°F.
After the crust has chilled, bake it for 10 minutes, until set. Remove it from the oven and cool while you prepare the filling. Reduce the oven temperature to 350°F.
To make the filling: Combine all the ingredients except the nuts in a 3-quart saucepan. Bring to a boil over medium-high heat, stirring constantly. Reduce the heat to medium and boil for 10 minutes (until the mixture reaches 235°F). Stir in the nuts, cook for another 2 minutes, then pour the filling into the baked crust. Return to the oven and bake for 25 to 30 minutes, until the top is deep golden brown. Remove from the oven and cool.
To finish: Cut into 2" x 1" bars; dip the ends in melted chocolate, if desired.
This recipe can be halved and baked in an 8" square pan, or, if you don't have a jelly-roll pan, baked in two 8" pans.
These bars have a great flavor, they were a huge hit at the office. Thank you KAF for sharing this recipe, I will definitely make them again! However I have to agree with another comment in that I wish the crust was thicker as the topping really overwhelms it. I also feel that lightly chopping the macadamia nuts or using a smaller nut like cashews/peanuts would be better too. Also the recipe should insist on using a digital thermometer to test for the 235F filling temperature and not mention a cooking time at all. It took almost 25 minutes for my filling to hit the correct temperature, I would wager that some people using the 10 minute time would not have a successful result.
Unfortunately this recipe turned out disastrously for me. The filling was not thick enough to create a nice layer on the top of the bars so the macadamias stood out awkwardly and then burned in the oven, and the sugar burned onto the sides of the pan. The whole thing went in the garbage after i managed to chip it out of my 10 x 15 inch jellyroll pan, which was a feat in itself.
We're surprised to hear you had so much trouble with this recipe, and we apologize for the frustration you experienced. It sounds like the filling wasn't heated for long enough, which can cause it to be thinner than desired and not set up well. It's equally important to use heavy cream (and not something with less fat) to make a thick, caramel-y flavor.
Do you use salted or unsalted nuts in this recipe?
I made with ~2 cups of peanuts instead of macadamia nuts. While they tasted good, the topping was VERY sticky and never seemed to set. I can only guess maybe I should have let the cream mixture boil longer or perhaps left them in the oven a few minutes more. Still darn tasty!
I ventured to make this today,followed the recipe carefully. I felt the dough rolled out easily, but a bit thin. The topping almost overwhelmed the cookie base. I will make this again but doubling the dough. The flavor of the syrup is very good ( I used dark rum) with jumbo cashews. I had no difficulties removing the baked cookie from the jelly roll pan, I lined the pan with parchment. My family enjoyed the samples!
These bars taste good but are impossible to get out of the pan cleanly.


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Nicodemo "Nik" Spatari (16 April 1929 – 25 August 2020) was an Italian painter, sculptor, architect, and art scholar. He created the "Parco-Museo Santa Barbara", known also as MUSABA, an open-air art museum realised in the 10th century  area close to Spatari's birthplace of Mammola, in south-eastern Calabria.

References

Bibliography
 Nik Spatari, L'enigma delle arti asittite nella Calabria ultra-mediterranea, Reggio C., Iiriti ed., 2002,

External links
MUSABA Fondazione Spatari/Maas | Calabria - Italia

1929 births
2020 deaths
20th-century Italian architects
Italian male painters
Italian male sculptors
People from Calabria

redpajama_set_name: RedPajamaWikipedia


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Stay With Me (Wait For You, Book 3) de J. Lynn
Título: Stay With Me (Wait For You, Book 3)
Escrito por J. Lynn
Another outstanding New Adult novel from the bestselling author of WAIT FOR YOU – a NEW YORK TIMES bestseller.
Not all scars are visible on the surface.
Calla Fritz is used to hiding. Hiding the scar that she believes mars her beautiful face. Hiding the burns that cover so much of the rest of her body. Hiding her past and her family secrets from her new college friends.
But when her mother clears out her bank account and disappears, Calla is forced to return home and face up to a life she'd rather forget about. What she didn't count on was meeting the one guy who seems to be able to see past her defences. Jackson James, known as Jax, is beyond smokin' hot – and Calla can't quite hide her feelings for a man who knows that beauty isn't only skin deep.
But with some dangerous characters looking for her mother – men who are perfectly happy to punish Calla for her mother's sins if she doesn't turn up soon – Calla and Jax have more troubling things to think about than the searing heat between them…
Editorial/Editado por: Harper (25 de septiembre de 2014)
A great novel romantic enough for the ladies and suspenseful enough for the guys
Stay With me is labeled a romance, and while there most definitely is a strong love story in it, I consider it basically a novel and as such, it's great reading regardless of gender. I do belive that it will appeal more to women because it's written by a lady author and is told from the woman's viewpoint in the first person. However, it has enough of a thriller embedded in it to appeal to men also.
The opening chapter did lead me to believe that it was going to be a fairly standard love story. We're introduced to our heroine who's in college and recognize that she is a very spunky young lady with an attitude. She does seem to be a bit man crazy, talking about what she calls the '»Hot men's brigade'. However, we quickly learn that she is virgin not even ever being kissed. This partially is because of an ugly facial scar, one of several body scars she sustained in a fire. However, the very ending of the chapter starts the actual story.
I won't tell you more of the plot because this is most enjoyable getting each surprise as it happens. Well, on second thought, I will mention that thisfnovel includes an incredibly unfit mother, drug dealers, and of course a «hot» love interest. I will also mention that this depicts a much more honest and engrossing love affair which emphasizes actual love rather than sex.
There are sexual scenes in the novel, but they are not generally as graphic nor «hot' as are common in modern romances. There's also some violence, but again not graphic.
I wish there were a way to convey how very good this novel is without sounding like I'm a plant or a personal friend of the author. I'm especially sensitive about this since this apparently will be the first customer review. But believe me, guys and gals, this is definitely a novel to read. Yes, it is at times heavy on the romance, but there's enough suspense in it to please male readers like myself. Truly an outstanding novel and quit strongly recommended by me
Loved!
I will admit I wasn't a huge an of JLA's previous New Adult books, but this one completely blew me away! I wasn't prepared for how attached I would get to the characters and their story, but by the end of the story I just didn't want to let them go.
JLA has really taken the New Adult formula to a new level. She doesn't just have the standard broken character meets broken character and eventually falls in love. Nope she has a huge storyline that kept me flipping pages all night long. I couldn't put it down!
I love reading about men in the service and Jax was amazing! He was definitely a bad you know what and could totally take care of whatever was thrown his way. Calla was an amazing character as well and definitely fit perfectly with Jax. Their relationship wasn't all roses, but that is to be expected with NA.
What really set this book apart was the storyline. It isn't typical and if you are like me and are tired of the same ole thing this is for you. I won't go into the storyline because I think the summary gives enough away and I don't want to give spoilers but believe me you need this book in your life. It will make you laugh, squee, and cry and give you all the feels you need!
Sweet, Hot, and New
When it comes to «new adult» romances, I'll admit to being more than a little opinionated. Oftentimes, I find the characters too immature, and generally in a totally unbelievable, unlikeable way. So I was pleased with Calla and Jax's romance. This isn't the typical good girl, bad boy story that makes you question whether he's possibly going to become an over-obsessed stalker. Calla is young and innocent, but Jax is an all-around good guy, and you want them to get together from the start.
Both characters are in their young twenties, and while it's been a long time since I've been there, I thought Lynn did a good job of giving them realistic personalities. Calla's sexual innocence is contrasted with an unpleasant childhood; I was a little leery of this at first because I don't like to read heavy tragedy in my romance novels. But, while there was tragedy in her past, it's not detailed in the story and doesn't dominate it. Likewise, Jax is a veteran, but this only part of who he is, it's not all he is, as sometimes happens when authors get hung up on their soldier heros.
Calla's college friends make appearances in this book, and it's clear they've got their own romances depicted in other books; it's also clear that there's at least one romance being set up for another tale. But none of these things overshadow the main characters here, and this book easily stands alone. I like it enough, though, that I'll likely order others in the series.
Brat (Sharing Spaces Book 2) de Alicia Michaels
Dirty Rowdy Thing de Christina Lauren
Wreck Me de Jessica Sorensen
Broken (Forbidden Series Book Two) de Melody Anne
Captivated by You (Crossfire Book 4) de Sylvia Day
26 septiembre, 2014 a las 12:10 pm por Ebooks
Listado en las siguientes categorías: Ebooks en inglés
Etiquetas: J. Lynn, Stay With Me, Stay With Me (Wait For You Book 3) de J. Lynn, Wait For You Book 3
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Inglés para españoles. Aprende a pensar y a hablar en inglés de Carlos Vallés Tormo
Rozando el nirvana (Trilogía nirvana nº 1) de Arantxa Anoro Gil


The question of stem cells is currently the dominant subject in the debate over biotechnology and human genetics: Should we use embryonic stem cells or adult stem cells for future medical therapies? Embryonic stem cells are taken from a developing embryo at the blastocyst stage, destroying the embryo, a developing human life. Adult stem cells, on the other hand, are found in all tissues of the growing human being and, according to latest reports, also have the potential to transform themselves into practically all other cell types, or revert to being stem cells with greater reproductive capacity. Embryonic stem cells have not yet been used for even one therapy, while adult stem cells have already been successfully used in numerous patients, including for cardiac infarction (death of some of the heart tissue).
Stem cells are of wide interest for medicine, because they have the potential, under suitable conditions, to develop into almost all of the different types of cells. They should therefore be able to repair damaged or defective tissues (for example, destroyed insulin-producing cells in the pancreas). Many of the so-called degenerative diseases, for which there are as yet no effective therapies, could then be alleviated or healed.
It is remarkable that in the debate–often carried on with little competence–the potential of embryonic stem cells is exaggerated in a one-sided way, while important moral questions and issues of research strategy are passed over in silence. Generally, advocates of research with embryonic stem cells use as their main argument that such research will enable us to cure all of the diseases that are incurable today–cancer, AIDS, Alzheimers, multiple sclerosis, and so forth. Faced with such a prospect, it is supposed to be "acceptable" to "overlook" a few moral problems.
On closer inspection, however, the much extolled vision of the future turns out to be a case of completely empty promises: Given the elementary state of research today, it is by no means yet foreseeable, whether even one of the hoped-for treatments can be realized. Basically, such promised cures are a deliberate deception, for behind the mirage of a coming medical wonderland, promoted by interested parties, completely other research objectives will be pursued that are to be kept out of public discussion as much as possible.
Perfect candor should rule in stem cell research. This requires that the scientist himself clearly establish the moral limits of his activity and declare what the consequences of research with embryonic stem cells really are. In the process, no one can escape the fact that, should one wish to use embryonic stem cells for "therapeutic purposes," the very techniques will be developed that will also be used for the cloning of human beings, the making of human-animal hybrids, the manipulation of germ lines, and the like–thus for everything other than therapeutic purposes. Any coverup or hypocrisy in this matter will very quickly reflect upon the research as a whole.
It is appropriate here to sketch the characteristics of stem cells, and the overthrow of some dogmas of developmental biology. Broadly speaking, a stem cell is one that–in the course of cell division and increase in the numbers of cells–is able to reproduce itself and also mature into various specialized types of cells. The stem cell with the greatest potential (totipotential) is the fertilized egg cell, which is capable of developing into a complete organism.
According to the usual–but actually very doubtful–explanation, the fertilized egg cell has totipotential up to the stage of division into eight cells, and in later stages the cells retain only "pluripotential." That is, they can form many different types of tissues, but not the complete organism. Embryonic stem cells–that is, those 50 cells within a blastocyst, which then continue to develop into the embryo proper–have this pluripotential. In the course of further specialization, stem cells of individual tissues are formed, such as that of the bone marrow, from which all the other kinds of blood cells develop.
Behind this description lies the conception that a linear process of differentiation is played out, in the development of the individual, toward increasingly "mature," specialized cells in the individual tissues, from totipotentiality to tissue specificity. This process is supposed to run only forward, but never backward. That is, as soon as a cell has reached a certain degree of "maturity," the way back to earlier stages of development is closed off. So it is evident that a stem cell's capacity to perform is increasingly limited to specific functions, and it loses, correspondingly, the manifold capabilities still present in earlier developmental stages.
According to latest reports, however, this dogma of developmental biology does not hold. Evidently, tissue-specific stem cells have the ability–as has been impressively demonstrated in experiments with animals–to "transdifferentiate" themselves when in a different environment–that is, to take on the cell functions of the new tissue. Thus, neuronal stem cells of mice have transformed themselves into blood stem cells and produced blood cells. Indeed, there are indications of another capability of adult stem cells: Apparently they have the potential to be "reprogrammed." Not only can they adjust to the specific conditions of a new tissue environment, but they can even assume more generalized, earlier levels of development, so that it even appears possible that they become totipotent again.
Laboratory Virola in Ukraine has demonstrated that bone marrow stromal cells in culture are pluripotent–that is, they are able to differentiate into cells of liver, bone, fat, cartilage, and so on. Researchers at this laboratory have developed techniques to differentiate in vitro mouse bone marrow stromal cells into different types of neuronal and glial cells. The laboratory is seeking funds to develop similar methods for human bone marrow stromal cells.
Until now, talk of a possible source of human replacement tissue has centered on embryonic stem cells, the production of which has been extremely controversial. They are a typical product of "consuming embryonic research," so called, because in obtaining them from a human embryo produced by artificial fertilization in vitro, the embryo is destroyed.
The most important research technique for which such embryos are obtained is "therapeutic cloning." In principle, a human egg cell is denucleated, that is, the DNA is removed, and in its place is put the nucleus of a somatic (body) cell. The egg cell is stimulated with a short electrical pulse, and it then develops into the blastocyst, from which stem cells can be removed. These are identical with those of the donor of the somatic cell nucleus.
Normally it goes unmentioned, that it is only a small step from this so-called "therapeutic cloning" (because, it is claimed, in this way a therapy for diseases can be developed) to what is called "reproductive cloning." The only difference is that the development of the embryo is not interrupted in the early blastocyst stage; instead the embryo is implanted in a uterus and a complete organism develops–an exact genetic copy of the donor. "Dolly," the first cloned sheep, was produced by this method, and here is the basis for the widespread fear that the same method that is used for "therapeutic cloning" can also be used for the selective breeding of humans.
In addition to the obvious moral consideration, there are still other serious disadvantages that make this path to the development of human "replacement parts" appear to be untenable.
The danger of tumors. So far there has been no solution to the problem of developing in the laboratory an unmistakable identifier for stem cells that can distinguish them unequivocally from cancer cells. For this reason, it is also not possible to produce sufficiently pure cell cultures from stem cells. So far, with embryonic mouse stem cells, a purity of only 80 percent has been achieved. That is in no way sufficient for cell transplantation as a human therapy. In a cell culture for therapeutic purposes, there must not be a single undifferentiated cell, since it can lead to unregulated growth, in this case to the formation of teratomas, a cancerous tumor derived from the germ layers. This problem would not be expected with adult stem cells, because of their greater differentiation.
Genetic instability. Only recently a further problem has emerged. Fundamental doubt of the suitability of embryonic stem cells for transplantation has come to the surface because of the genetic instability of cloned cells.
Cloned animals like Dolly give the outward appearance of full health, but the probability of their having numerous genetic defects is very high. Moreover, the entire cloning procedure is extremely ineffective. Most cloned animals die before birth, and of those born alive, not even half survive for three weeks. In the best case, there is a success rate of 3 to 4 percent.
One of the reasons for this high failure rate has now been discovered by the German scientist Rudolf Jaenisch at the Institute for Biomedical Research at the Massachusetts Institute of Technology, and his colleague, Ryuzo Yanagimachi. Their conception is that in cloning–that is, when the nucleus of a somatic cell is inserted into a denucleated egg cell–the reprogramming of the genes does not proceed properly, so that not all of the genes that are necessary to the early phase of embryonic development, are activated. Even when cloned animals survive at all, probably every clone would have subtle genetic abnormalities that would frequently become noticeable only later in life.
Jaenisch performed his experiments with mice that had been cloned using embryonic stem cells in place of the somatic cells, which produces better results. But to his surprise, the reprogramming of the inserted genetic material by the embryonic cells proceeded in a very unregulated way. There were no two clones in which the same pattern of gene activation was found, and Jaenisch is convinced that the use of embryonic stem cells was clearly responsible.
What consequences follow from this for the therapeutic use of human embryonic stem cells–consequences that will in fact be multiplied through cloning–are not yet foreseeable.
Neuroblasts differentiated from bone marrow stromal cells by Laboratory Virola.
This shows that in tissues of the body, adult stem cells possess a much greater potential for differentiation than previously assumed. This knowledge must be brought into the public consciousness with all possible emphasis. If stem cell research were really only meant for therapeutic uses, which it most obviously should be, adult stem cells would promise a very productive research field–and beyond that, a possibility, without moral objection, to discover fundamentals of the dynamics of tissue differentiation.
It has become clear from transplantation experiments with animals, that stem cells of a particular tissue can develop into cells of a completely different kind. Thus, bone marrow stem cells have been induced to become brain cells, but also liver cells.
Adult stem cells obviously have a universal program for division that is common to all the kinds of tissue stem cells, and makes them mutually interchangeable. This was discovered by Alexei Terskikh at Stanford University School of Medicine in California. He was able to prove that adult stem cells of blood-forming tissues, and of the brain, activate the same genes, in order to preserve their status as stem cells.
In May 2001, a further, spectacular experiment was reported, which was carried out on mice by scientists at Yale University. The researchers obtained stem cells from the bone marrow of male mice, and injected it into females whose own marrow had been destroyed by radioactive irradiation. Eleven months later, the male stem cells (identifiable through the male Y-chromosome) were found not only in the females' bone marrow, but also in their blood, and in their gut, lung, and skin tissues.
If these observations are correct and are confirmed by other teams of scientists, science should concentrate on research with adult stem cells and renounce further experiments with the embryonic.
Moreover, very promising treatments of serious diseases with adult stem cells have already been tried. The special advantage is that there are no rejection reactions, because the cells are from the same body.
Of longer standing is treatment with bone marrow stem cells. The treatment comes into play when, for example, a patient has lost his or her blood-forming tissue through radiation or high-dose chemotherapy. Previously removed bone marrow stem cells are then retransplanted, and are able to resume the formation of blood cells.
In 2001, however, a team of doctors at the Duesseldorf University Clinic carried out a treatment of very far-reaching consequences. For the first time, they treated a cardiac infarct patient with stem cells from his own body. The cardiologist, Prof. Bodo Eckehard Strauer, is sure that the stem cells from the patient's bone marrow, after injection into the infarct zone, autonomously converted to heart muscle. The functioning of the severely damaged heart clearly improved within a few weeks.
Four days after the infarction, the doctors took bone marrow from the patient's pelvis using local anesthesia. The stem cells in the marrow were concentrated outside of the body and implanted in the infarct area the next day with a special technique via a coronary artery. However, the doctors could not yet take cardiac tissue to prove definitively that the implanted blood stem cells had converted to heart muscle cells. But, according to Strauer, there is no other way to explain the marked improvement in the patient's condition. After this first successful operation, six more patients have already been treated with their own stem cells, with similarly positive results.
There are also reports of successful treatments with adult stem cells in cases of Crohn's disease (a chronic infection of the gut), thalassemia (a blood disease), and a rare skin disease. And–despite the fact that basic research with adult stem cells is in its earliest beginnings and is in no way being promoted with urgency–there have been a growing number of reports lately of experiments with animals, from which it emerges that adult stem cells can successfully transform themselves into differentiated cells of organs of many kinds.
In contrast, reports of successful conversions of embryonic stem cells are very infrequent and cautious. Thus, we find in Science of Dec. 1, 2000 (Vol. 290, pp. 1672-1674): "In contrast, the human embryonic stem cells and fetal germ cells that made headlines in November 1998 because they can, in theory, develop into any cell type have so far produced relatively modest results. Only a few papers and meeting reports have emerged from the handful of labs that work with human pluripotent cells. . . . The work suggests that it will not be simple to produce the pure populations of certain cell types that would be required for safe and reliable cell therapies. . . ."
This is the restrained language used by established science to describe a truly disastrous set of results.
There are, of course, still substantial problems to be overcome, even with adult stem cells: They are relatively rare, and are hard to find with the techniques used so far. They are also not very easy to culture outside of the body. It was therefore an important advance that Australian researchers of the Walter and Eliza Hall Institute of Medical Research have now found a way to isolate nerve stem cells with "extreme purity" from the brains of mice. In Nature of August 16, 2001 (Vol. 412, pp. 736-739), they reported obtaining a culture of 80 percent purity, compared to a previous rate of 5 percent at best.
It is now urgently necessary to tackle the research in precisely this direction, in order to find out the exact conditions under which the differentiation of stem cells comes about and how, in detail, it proceeds. Only by this morally unassailable route will it be possible to develop new therapies for serious, heretofore incurable diseases, and beyond that, to improve our understanding of the development of life itself.
Wolfgang Lillge is the Editor-in-Chief of the German-language Fusion magazine. His article appeared in the Sept.-October 2001 issue of Fusion, and was translated into English by David Cherry.


Networking AM @ MindTrek VR - Oct 2, 2018 - Burlington Area Chamber of Commerce ?
Join us this month for Networking AM at MindTrek VR! MindTrek is the largest virtual reality arena in America. In this free-roam multiplayer virtual reality gaming experience, players are fully immersed by sight and sound in all games.
Networking AM is held on the 1st Tuesday of every month at a BACC Member location. This is a casual networking event designed to build working relationships among members while highlighting a BACC Member's business. Join us for coffee and a breakfast snack and be sure to bring plenty of business cards.


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UMS Arts Roundup: November 19
Many members of the UMS staff keep a watchful eye on local and national media for news about artists on our season, pressing arts issues, and more. Each week, we pull together a list of interesting stories and share them with you. Welcome to UMS's Arts Round-up, a weekly collection of arts news, including national issues, artist updates, local shout-outs, and a link or two just for fun. If you come across something interesting in your own reading, please feel free to share!
Arts Issues
What's next on the list to download to your ipod? Ballet!
The use of captions during plays give theaters access to new audiences, including the hearing impaired.
2011 Edinburgh International Festival to focus on Asian culture and influence.
Artist Updates
World famous composer Philip Glass writes a new opera, to premiere in 2013.
Alongside 14 others, Yo-Yo Ma is awarded the Presidential Medal of Freedom—the country's highest civilian honor—from President Obama.
Annarbor.com performance review of Stew & the Negro Problem at the old Leopold's pub. Additional performances on Friday and Saturday!
Local Shout-Outs
Intriguing exhibit opens at DIA, looking at artist fakes and the detective work used to verify artworks.
Students host EMU music festival featuring local bands.
Check out this circus-like version of "Swan Lake" that has lately been making the rounds on youtube. Amazing or horrifying? You decide!
UMS Arts Roundup: September 24, 2010
New innovation in orchestral organization may be on the horizon – a look at how restructuring could open up new possibilities for management and musicians alike.
The Guggenheim expansion to Abu Dhabi brings human rights concerns to the forefront.
A look at the challenges that arise in preserving Merce Cunningham's impeccable dance legacy beyond The Legacy Tour, coming to the Power Center stage in February.
Cecilia Bartoli adds "artistic director" to her bag of tricks.
Do you have tickets to the Rosanne Cash concert? Consider picking up her book, too – Composed: A Memoir
Laurie Anderson's Delusion opened the BAM Next Wave Festival this week: reviews from The New York Times and the Village Voice.
The DIA uses geocaching to engage the community in exploring the metro Detroit area and draw attention to the Inside|Out project.
Would you ever watch an opera in the Big House? In Washington D.C., they're not too far off…"Play Ballo!"
In Sweden, a robotic swan created by Mälardalen University dances to Tchaikovsky's Swan Lake.
Shocked by Lady Gaga's meat-dress at the Video Music Awards? Believe it or not, she's not the first to dress carnivorously. Check out the art history behind her meaty wardrobe.


Phyllis M. Orange, 61, of New Alexandria, passed away Saturday, April 6, 2019 at her home. She was born August 27, 1957 in Latrobe, a daughter of Philip Rabickow of Indiana, PA and the late Genevieve (Pluto) Rabickow.
Phyllis was a member of Prince of Peace Lutheran Church in Latrobe and prior to retirement, she was employed by Excela Health as an MRI Technician.
In addition to her father, Phyllis is survived by her husband of nearly 38 years, Wesley M. Orange, her stepson, Timothy M. Orange and grandson Wesley Orange of Lake Forest, CA, her sister Kathleen (Fred) Thounhurst of Saltsburg, her brother, David Rabickow (the late Carol) of Blairsville, several in-laws, and a number of nieces and nephews that she loved as her own. She also had numerous dogs over the years but her present heartbreaker was Eddie Spaghetti.
Phyllis' family would like to extend their heartfelt thanks to the nurses and caregivers of Excela Health Hospice, especially Angie, Dawn, and Jen, and the many family members who made her passing into God's hands easier.
A memorial service will be held Saturday, April 27, 2019 at 11:00AM in the Prince of Peace Lutheran Church, 1325 Mission Road, Latrobe, PA 15650 with her pastor, the Reverend William A. Schaefer officiating. The Hartman-Graziano Funeral Home, Inc. in Latrobe has been entrusted with the arrangements. Memorial contributions may be made to the Westmoreland County Food Bank, 100 Devonshire Dr, Delmont, PA 15626, online at https://westmorelandfoodbank.org/.


Sponsor(s): IEEE Microwave Theory Tech. Soc.
Providing a high quality factor scalable varactor in an integrated technology is a wager. How to insure that your device will give the highest quality factor possible? In order to response this questions, we let the bases of a varactor gauge combining electrical performance and geometrical sizes. Giving a targeted capacitance, it could furnish a qualitive idea of the adequacy with technology performance. It could furnish also a indicator for comparison with other devices. As example of varactor gauge application, we present a comparison between two diode varactor devices in two BiCMOS technologies.


One of Country music's rising stars will be in Evansville in 2019 when Morgan Wallen takes the stage at the Vanderburgh County Fair on July 24th!
Fair officials made it, well official, with an announcement on Facebook.
Joining Morgan for the show will be Riley Green, another new up-and-comer who's first single, "There Was This Girl" is currently rising up the Country music charts.
The best part? Admission to the show will be included as part of your $8.00 fair admission! If you want to get up close to the action, pit passes will be available for $10 each.


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ЛајвМат (транскрибовано са енглеског: LiveMath) је рачунарски алгебарски систем доступан на многим рачунарским платформама укључујући Mac OS, Mac OS X (Карбон), Windows, Линукс (x86) и Соларис (SPARC). ЛајвМат је последње издање система чији је првобитни назив био Theorist, а био је коришћен на "класичном" Макинтошу из 1989., а у међувремену је имао имена MathView и MathPlus године 1997. након што је продат компанији Waterloo Maple. Званично је добио име LiveMath након што је откупљен од стране својих корисника 1999. Тренутно овај систем поседује компанија MathMonkeys са седиштем у Кембриџу, држави Масачусетс. Цео ЛајвМат пакет садржи LiveMath Maker, главну апликацију, као и LiveMath Viewer за крајње кориснике и LiveMath Plug-In, ActiveX додатак за претраживаче.

Опис
Лајвмат користи систем радних листова, слично као што то користе програми Mathematica и MathCAD. Корисник уноси једначине у радна поља и онда користи уграђене функције за њихово решавање, или за нумеричко смањвање. Радне свеске обично садрже неки број једначина подељених у одељке, заједно са подацима у табелама, графицима и сличним производима. За разлику од већине рачунарских алгебарских система, ЛајвМат користи пуно графичко корисничко сучеље са висококвалитетним графичким репрезентацијама једначина у сваком кораку, укључујући и унос.

ЛајвМат такође дозвољава корисницима интеракцију са једначинама унутар радног поља; на пример, инстанца  се може превући на леву страну једначине, при чему ће ЛајвМат аутоматски прерадити једначину и решити је по непознатој . Системи за алгебарско решавање су релативно прости поредећи је са познатијим системима попут Математике, и не подржава исти тип аутоматизованог решавања из једног корака као остали пакети.

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